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Jul 22, 2014
High-concept sci-fi is hardly a rarity in anime, in fact it is integral to the medium as a whole. Apocalyptic struggles for the survival of humanity are also quite common, and giant robots are synonymous with anime. However, as well tread as these elements are, they can still feel fresh and like they’re on the cutting-edge when done correctly. Knights of Sidonia, adapted from a manga by acclaimed author Tatsomu Nihei of the same title, is a prime example for this. If taken on their own, the plot elements that the show uses are not breaking any new ground, and yet they come together to
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create an exciting sci-fi actioner that is distinctive despite all the familiarities it shares with other shows of its genre.
A large part of what makes Knights of Sidonia so distinct is the thoughtful and well realized sci-fi world that Nihei has created. It is a world rife with super-science, enveloped in deeply intriguing mystery, and haunted by monstrous abominations. There are tons of fascinating concepts which are interwoven together to make a well detailed and convincing post-apocalyptic universe in which the last of humanity is forced to live on a space colony, and must defend itself against inhuman beings called the Gauna. Grand scale tragedies and dire circumstances have forced significant change onto mankind; both social and biological. Humans have been genetically modified to photosynthesize after a food shortage crisis. People wear belts that latch onto designated safety ramps in case of gravity instability. Some humans are born gender neutral, only becoming male or female after finding a mate. Mankind lives in a constant state of war, essentially under military rule. Anti-war protesters claim that if mankind lays down its weapons, the Gauna will leave it be. Every concept adds a little more detail which makes the world all the more believable, and very little feels extraneous or unnecessary. That said, the world is so expansive in detail that there are many things which are left vague or unexplained, but since the show’s 12 episodes only covers a small portion of the on-going manga’s material, these will presumably be elaborated on in later instalments.
The story itself follows Nagate Tanikaze, a human who has lived most of his life in the underground tunnels of Sidonia and has not been genetically modified to photosynthesis, but none the less is a talented pilot. After arriving on the surface, Nagate joins Sidonia’s military force as he learns more about Sidonia and its society. In a way, Nagate acts as an audience surrogate, as much of what we learn about Sidonia is revealed through his experiences. His relationships with his fellow pilots and other citizens of Sidonia is also at the emotional core of the show. His instant friendship with gender-neutral Izana, attraction to fellow pilot Shizuka Hoshijiro, the one-sided grudge Norio Kunato holds against him, all of these give the show a human aspect that keeps the show from being as cold and concept driven as it could have been. This is especially true when the plot takes some tragic turns that put Nagate through the emotional wringer. Nagate himself might not stand out as wholly unique when compared to other protagonists in the mecha genre, the talented misfit pilot is a well-worn trope, but he is a likeable lead that is easy cheer for, and human enough to relate.
The rest of the cast is, more or less, equally well developed. Izana in particular is a very likeable character, though admittedly is suspiciously feminine for a character that is supposed to be gender-neutral. Her relationship with Nagate is refreshing and highly endearing, and her developing crush on him is frankly adorable. Shizuka is just as endearing, being a sweet and unimposing love-interest for our protagonist. Kunato is decidedly a self-righteous jerk (putting it lightly considering the consequences of his actions), but has enough of a human-edge to make him understandable in his disdain for our protagonist, though by no means justified. Though not explored very deeply, the Gauna are an appropriately intimidating and mysterious menace that mankind rightfully fears. Even many of the bit players get just enough personality to get attached, though in some cases it is pretty apparent that they are there to be fodder for the body count.
The plot moves at a brisk pace, not wasting much time, if any at all. Veteran screenwriter Sadayuki Murai and the rest of the writing team must be commended on adapting Nihei’s expansive sci-fi world to the screen without relying too heavily on information dumping, while giving ample time for relationships to develop and having a substantial amount of action. Admittedly all is not perfect, with some plot points being overly obtuse, and some of the character interactions and dialogue can feel kind of phoned in. There are times when the show feels too close to being a harem, with so many of the girls taking an interest in Nagate, which does feel pretty unnecessary and a bit like a power-fantasy. However, as a whole, the writing here is rather impressive stuff.
On a technical standpoint, Knights of Sidonia looks pretty good, but certainly has its rough spots. Most of the technical shortcomings come from the show’s use of CG models, usually for the battles, but sometimes for character animation as well. By no means is the CG work here bad, in fact it is rather good for a series. However, it does have its bouts of awkwardness from time to time, and they are rather noticeable. By in large, the CG mecha battles fair better than when the CG is used for character animation. Granted, the former has moments of awkwardness, but at its worst the latter can be emersion breaking. That said, Kōbun Shizuno’s direction compensates for most of the show’s technical deficiencies. He knows how to frame a shot, and can choreograph action extremely well. All of the show’s action sequences and other set-pieces are executed cleanly and in spectacular fashion; never getting too busy or muddled. It also has a small amount of fan-service added in, albeit slyly using the concept of photosynthesis, but it is telling that we never see any of the men stripping naked to photosynthesis. The music by Noriyuki Asakura is fitting for a space sci-fi and used well to support the show’s content, though the battle music will likely be what you will remember the most.
Overall, Knights of Sidonia is an expertly made sci-fi mecha action show. It does have a fair amount of shortcomings, most notably the sometime awkward CG animation and the rather needless harem element. Nor does the show really break any knew ground, for as polished and well thought out as it is. However, the show has a surplus of positives that compensate for its flaws. The sci-fi setting is rich and well detailed. The characters are interesting and likeable, for the most part. The plot is both intellectually stimulating and emotionally engaging, and the action is exhilarating. It might not be the absolute best of the mecha genre, but it is certainly an impressive addition.
Reviewer’s Rating: 8
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Jun 21, 2014
Nostalgia can be a detriment to looking at something through a critical lens. Fond memories can blur your judgment concerning the quality of a work of fiction, especially if it's something you grew up on. This is the pit-trap waiting for the generation of anime fans who grew up in the 90's watching and playing Pokémon in this four episode special. Pokémon Origins retells memorable events of the first two Pokémon games in animated form. No doubt it will bring forth warm fuzzy memories of popping Pokémon in your Gameboy for the first time, but once put under a critical light, the special bares questionable
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results at best.
Origins chronicles the adventures of Red, named after one of the first two games, on his quest to become a skilled Pokémon trainer and complete Professor Oak's Pokédex. His adventure covers the entirety of the first Pokémon games, which means sticking to the original 150 Pokémon (for the most part). It also means condensing an entire games worth of content into only four 20-or-so minute episodes. The show deals with this by having narration that lists off events that happened presumably in the time between episodes. This, of course, is a textbook example of weak writing, not to mention it breaks the cardinal rule of ‘show, don’t tell’. The story is not being told to us as much as it is being spoon-fed to us. Certainly, the events will elicit major nostalgia for anyone who has played the games, however, that alone is not a sign of good writing. In fact, the storytelling here relies almost solely on nostalgia. Since large chunks of Red’s adventure are told though narration, it doesn’t feel like the audience is on the journey with him. We are told about the wonderful world of Pokémon, but we’re never allowed to explore it with Red. This results in difficulty actually being invested in Red’s adventure, outside of our own nostalgia of the game.
Not helping the matters is that none of the characters develop in a natural progression. We see Red become a master Pokémon trainer, but we never experience it. This is, again, because most if his adventure is narrated, which makes it more expository than experiential. It becomes difficult to gauge his growth as a trainer and a person, and summarizes what should have been shown as hard earned experience. He does have a distinct character arc that is easy to map out, but it just isn’t explored particularly well. Of course, Red is the central character and as a result the most developed, which doesn’t bode well for any of the other characters. Blue/Green (depending on what language you’re watching) is Red’s rival, and he’s given enough personality to not be one-note, particularly with his sometimes friendly sometimes antagonistic relationship with Red. However, he’s ultimately there to be a rival that Red can play off, and he doesn’t develop too much beyond that. Likewise, most of the characters feel kind of like stepping stones for Red as he develops into a better trainer; pretty much all of them are there to either teach Red a lesson or antagonize him into action. Needless to say, any character development for them is light or rushed. Team Rocket leader Giovanni’s sudden change of heart might have been an affecting moment if we actually got to know him first. Instead, we get his backstory in a few minutes during his battle with Red.
With all this said, it must be asked: is Pokémon Origins a failure? Well, no. Not really. This is a project that was clearly banking on the nostalgia of its viewership, and love for the franchise. In a way, it’s almost a reward for their devotion. It’s kind of a walk down memory lane for anyone who grew up with the games and the TV show. Watching Red travel, train, and battle reminds us of all the hours we put into beating the game and completing the Pokédex. We’re treated to game menu screens being incorporated into the show, fully animated re-enactments of scenes and battles, and nostalgia inducing iconic soundtrack. The animation is also much better compared to that of the TV series, perhaps even better than some of the movies. The boost in budget compliments the creative and varied Pokémon designs quite well, some Pokémon look better than ever. Battles are done with an abundance of energy, and while sometimes short and predictable, they are entertaining and often more violent than those of the TV show.
Nostalgia is nice, but it is no substitute for good storytelling. This is most certainly the problem with Pokémon Origins. The story being told is far too big to effectively be told in just four episodes, the world too expansive. This results in the massive amount of exposition, heavy narration, and unnatural pacing that plagues Origins. It might bring forth pleasant memories of your early gaming years, but doesn’t succeed in telling its story through the visual medium, instead relying on your own fond nostalgia. When it comes down to it, you might as well just play the games again instead, it’s a much more rewarding experience.
Reviewer’s Rating: 5
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May 30, 2014
Bad shows don't always stem from a lack of talent. Even the exceptionally talented of directors or artists have created a work which is far bellow their abilities at one time or another. Take director Ryuutarou Nakamura, for example. At his best, his works are powerful, thought-provoking experiences which warrant multiple re-watches. Yet he's had his fair share of busts, as well. One of these came a year after his magnum opus, the mind-bending Serial Experiments Lain, in the form of a screwball social satire. This is Colorful, Ryuutarou Nakamura's satirical take on the over-sexualized voyeurism of modern society and mass media, which can be
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summed up with the words lowbrow gutter comedy. Speaking personally for a moment, I can also describe it as a guilty pleasure.
Given Nakamura's inclination of working on intellectually challenging and thoughtful projects, it is strange that Colorful is so lowbrow in just about every aspect. Conceptually, a satire of overblown sexual content in media sounds pretty juicy. However, in practice all the jokes end up being lewd and crude, rather than being witty and insightful as satires usually are. No doubt this is due to the subject matter of male fixation on the female anatomy. To put it lightly, the male gaze is prevalent in this show; it's naked women galore, with plenty of focus on butts and boobies. Much of the comedy centers around men getting distracted, or acting stupid and perverted, after catching a glimpse of some girl's cleavage. Amusing certainly, but it's hardly sophisticated satire.
The humor also ends up being rather limited. There is only so many ways to depict male lack of judgment being spurred on by hot women. Granted, the show does play around with its pervert humor in creative ways and can be inspired in its lunacy (a giant school girl trots through a city, and all the men are focused on her panties), but it is basically recycling the same joke over and over again. In a way, this is actually counterproductive, as the show itself indulges in the voyeurism that it is lampooning. Although the episodes are only 5-6 minutes long, it is good to take time between episodes instead of going right into the next one; the perverted idiocy of the men in this show can be taxing, especially when taken all at once. That said, the show becomes more enjoyable in small doses and the show does provide a few chuckles and maybe one or two big laughs. Still, it's almost entirely brain-dead humor and if you can't open to its self-aware dumbness, then you probably will not like the show.
Colorful was clearly made cheaply. The animation is stiff, and the character designs are janky. There is (naturally) more detail put into the girls, especially their 'assets'. Even still, they're hardly the most attractive anime girls. Nakamura's direction crude and undisciplined; the complete opposite of his usual work. With its nonsensical tangents and bouts of obnoxious wackiness, Colorful is more akin to adult swim shows like Tim & Eric than other anime. That's not a compliment. It sort of feels like Nakamura was just screwing around, which would be fine if what he produced was quality work, unfortunately it isn't.
In all honesty, I can't say this is a good show. It is far too dumb to be a successful satire. Its humor is hit-or-miss, as well as being repetitive. It has no characters or plot to speak of; it's just a cluster of dumb jokes that occasionally hit the mark. There is enjoyment to be found if you let yourself sink down to its level, but the fact that I used the words 'sink down' is an indicator of the show's quality. It's a small but notable hiccup in the career of a rather talented director.
Reviewer’s Rating: 4
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May 12, 2014
Captain Harlock is one of the most endearing figures in all of anime. Since the original Space Pirate Captain Harlock series premiered in 1979, the character has been in numerous spin-offs and re-iterations throughout the proceeding decades; each in a different continuity with the only commonality being a few key characters and the space-opera setting (sans Gun Frontier, which is a western). The latest reimagining is 2013 CGI animated action spectacle directed by Shinji Aramaki of Appleseed fame. It's a grand-scale sweeping space epic with big themes and bravado to match, attached to a somewhat convoluted sci-fi plot. In other words, it is a movie
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that is faithful to the spirit of the original, and a worthy addition to the franchise.
Following in the traditions of its predecessors, this movie has its own variation of the setting and characters. It is set in a future in which mankind abandoned Earth because it could no longer sustain the population, only to return to it after finding no refuge in space, and engaging in an internal power struggle for control of their home planet called the Home Coming War. After the war, the authoritarian Gaia Sanction is formed and declares Earth sacred ground, forbidden to humanity. The only resistance towards this is the seemingly ageless space pirate Captain Harlock, who rebels against the Gaia Sanction for the next hundred years before the main story begins. This is all explained in a long montage before the title credits, which gives us an idea of how grandiose this movie intends to be, for better or worse. It also sets up Harlock to be an almost mythical figure, which works two-fold: giving the title character significant presence, and reminding us (the viewer) of the franchise's legacy.
The story itself mainly follows Yama, a Gaia Sanction soldier who infiltrates the ranks of Halock's crew (and designated audience surrogate), as he tries to bring Harlock's defiant actions to an end. Well, at least that is what he tries to do at first. The movie goes from one big set-piece to the next, with stretches of explanation and plot development in-between. Flashbacks are used to disclose Yama's backstory, Harlock's past, and the world changing events of the Home Coming War which are not shown in the opening montage. To be honest, the storytelling here is kind of clunky; it is paced in such a way that sometimes the movie feels like it is just pushing its way to the next action blowout. That said, it never really becomes boring or tedious, as big twists and revelations are aplenty, and the action set-pieces payoff in a big way.
The plot itself is backed by themes born from modern ecological anxieties, a fact which the movie makes very apparent. Mankind's abandonment of Earth is a blatantly obvious address to modern issues concerning overpopulation. The movie's fixation on the survival of a flower illustrates both the endurance and fragility of nature. Another theme is mankind's tendency to destroy the things it values through anger or envy. This can be seen in the only vaguely explored love-triangle between Yama, his brother Erza, and the girl for which they both have feelings; needless to say it takes a tragic turn. The theme can also be seen in Harlocks's past and the shocking truth behind the end of the Home Coming War. The endurance of hope and freedom in the face of such dispiriting factors has always been at the core of the franchise, and that is as true for this movie as it is for any other iteration; though Harlock's role as the personification of such hope and freedom is slightly subverted by the movie's big twist.
The direction concerning the movie's aesthetics is simply phenomenal. Shinji Aramaki made his name on his CGI work in Appleseed, and continues to display exceptional CGI artwork and rendering in this movie. Leiji Matsumoto's characters transition extraordinarily well to 3-D animation, and are very faithful as far as Captain Harlock and pirate girl Kei Yuki are concerned. Some liberties are taken: Harlock's alien advisor/drinking-buddy Miime looks more humanoid than her original counterpart, and Harlock's first mate Yattaran is almost completely different from his original appearance (and personality). Yama looks suspiciously similar to the original series' audience surrogate, Tadashi Daiba, too. Harlock's iconic pirate spaceship, the Arcadia, looks absolutely intimidating with its GGI make-over. The action sequences are a marvel to behold. The large-scale space battles and showboating melee fights are gorgeously well animated and, more importantly, exciting. Aramaki handles the action with gusto; letting them brim with a frenetic energy which fully engages the audience, while also juggling the multiple battles flawlessly. If nothing else, this movie is a testament to Aramaki's talent as a top-notch action director.
Unfortunately, his talents don't carry over into the movie's action-less dramatic scenes. Aramaki might direct a mean battle sequence, but his handling of drama leaves a lot to be desired. Many of the flashbacks and revelations come off as rather dry. They are visually stimulating, certainly, but are also emotionally distant. The scenes simply don't communicate the characters' emotions to the audience, or at least not as strongly as they should. You watch the scene unfold, but you don't feel the emotions that the characters are experiencing. Not helping matters is the fact that most of these characters are underwritten; plot and theme has always taken precedence over character depth in this franchise. The one exception being Captain Harlock himself, who is fascinating in his ideology (and always has been), and has an aura of myth and mystery surrounding him. While his backstory here removes some of the mystery, he is no less mythical from it. What this all means is that the movie's drama works on a thematic level, but far less so on an emotional level.
In the end, this movie is an admirable addition to the longstanding franchise. It pays homage to the original, while updating it by applying modern priorities to old-fashioned bravado. It doesn't really improve upon what was already there, as it suffers from the exact same flaws as the original series, albeit in different ways. However, it does deliver some downright fantastic action sequences (doubtless the best the franchise has produced), and a solid story overall. It may not have transcended the original's legacy, but it carries on that legacy quite well.
Reviewer’s Rating: 8
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Apr 21, 2014
Something that Kill la Kill cannot lay claim to is being elegant or refined. It is a messy, wild, unruly show with a crazed plot and lots of shouting. It's a show that spends its entire runtime with zany antics, crude humor, and fighting, lots and lots of fighting. The plot bounces around like a pinball, going every which direction; defying logic as the twists become increasingly more ridiculous. Of course, this madcap nature is exactly what makes Kill la Kill so insanely entertaining. This is a rollercoaster of a show that flies off the rails, only to continue on-ward until it leaves the Earth's
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orbit. And it is fun every second of the way.
Kill la Kill exists on its own plain of demented cartoon logic, light-years away from even the slightest semblance of reality. It's a place where high-schoolers rule authoritarian regimes with an iron fist. It's a place where an article of clothing can grant godlike superpowers. A place where people use things like iron-clad rulebooks, or wads of cash, as weapons. This setting of unhinged creativity could have only come from director Hiroyuki Imaishi and Kazuki Nakshima, the creative partnership behind the phenomenally popular and explosive Tengen Tappa Gurren Lagann. Kill la Kill is as deliriously over-the-top as that now legendary super-robot extravaganza, perhaps even more so.
The plot itself is gloriously messy; a hurricane of outlandish ideas and outrageous twists. Our hot-headed protagonist Ryuuko is out for revenge. Her father was killed and her only lead to the murderer is a sword shaped like half of a scissor. Her quest for vengeance leads her to but heads with the charismatic and ruthless Satsuki Kiryuuin, the authoritarian president of the metropolis-like Honnouji Academy, who seems to know about the murder of Ryuuko's father. Satsuki takes an interest in Ryuko, especially after the latter finds a sentient school uniform which grants her incredible power. However, Satsuki's eyes are set on a much grander ambition than Ryuuko's, one that involves taking control of all the other school-cities.
This would probably be enough to fill the plot for an entire show, but it is only the tip of the iceberg for Kill la Kill. At first, it does follow a set formula for a few episodes, in which Ryuuko takes on one of Satsuki's lackeys a la villain-of-the-week. It doesn't stay like this for long, however, as a third faction called 'Nudist Beach' is introduced, Satsuki's elite four become more and more eager to fight Ryuuko, and Satsuki moves to fulfill her plans. Even that is not the end of it, though. Bigger and badder antagonists appear, changing the game and raising the stakes. Allegiances shift; former enemies become allies. Battles become more and more extravagant, as well as more outlandish. Twists become more impactful, even as they get increasingly more ludicrous. The plot accelerates to a climactic burst, only for it to be followed by another. By the end, Ryuuko's quest for revenge has become a full-on war for the survival of the human race. It is an exhilarating experience that has the audience throwing logic to the wind simply because the show is so much fun.
To be honest, a lot of the show's success has to do with Imaishi's direction. Though Nakashima's plotting and script are embarrassingly fun, without Imaishi's audacious direction they would cease to be so; they would just be embarrassing. There is an enormous amount of non-sequiturs and psudo-science nonsense in the script that ultimately means nothing because it is trying to explain the impossibilities that occur in the show. The plot itself is likely among the most illogical and nonsensical things ever written. However, none of this really seems to matter under Imaishi's direction. In fact, Nakashima's deranged ideas compliment Imaishi's bombastic yet honest direction as if the two were born to work together. Ridiculous as the show might be, it is equally as passionate. It's clear that Imaishi and Nakashima threw their collective powers together on this show (just as in TTGL), and had a damn good time doing it. As a result, the show is simply a blast to behold, nonsense and all.
Of course, a large part of the enjoyment comes from the characters. This is a huge ensemble cast, and obviously most of these characters will be one note. Still, the characters here are every shade of likeable, even if they are not the most complex. Getting the most attention are Ryuuko, Satsuki, and Senketsu, Ryuuko's sentient uniform. Ryuuko's defining character trait is her hot-headedness, as she's quick to lose her temper and jump into battle. In some ways this trait is what makes her an admirable protagonist, as she is always willing to take action and fight the good fight. On the other, it makes her rash and impulsive, which can be problematic; this is especially true in the later stages of the show. Senketsu is more reserved than his fiery partner, and sometimes acts as a pacifier to her, which again comes into play in the later stages. Satsuki is a charismatic ice queen; constantly reserved (though not completely in the second half) and effortlessly cool. She's methodical, confident, and calculating; a perfect foil for Ryuuko. She inspires undying loyalty from her elite four, who all have distinct personalities on their own right. Then there is Ryuuko's best buddy, Mako, who is a hyperactive girl taken to the extreme. She's both fun and exhausting as a comedic character, her monologues are simply outrageous. All the other characters are colorful, but far less important. The two exceptions are the antagonists from the later half, who are both ruthless in their villainy and wickedly fun to watch.
Kill la Kill's technical merits are just as wild and unruly as its narrative. Trigger is a new studio, it should go without saying that they don't have the financial backing that longstanding studio's like Madhouse and Production I.G. have. That said, they did an admirable job putting this show together. Yes, there are times when the animators were saving on budget, and they are very obvious while watching the show. At the same time, when it is time to show off, the animators go all out. More than a few of the fights in this show are breathtaking spectacles, likely to go down as some of the all-time best fights in any anime. The budget restraints are mostly felt in the comedic moments, where they will deal the least damage. The striking and colorful yet rough art direction also covers for the limited animation. The fanservice might be a bit too present and gratuitous for some, but it is appropriate considering the show's motifs involving clothing and nudity. It also makes the show a veritable man-child fantasy, which is entirely expected from Imaishi.
The music by Hiroyuki Sawano is nothing short of fantastic. Sawano has been getting a lot of attention recently with is work on Blue Exorcist and Attack on Titan, but this is arguably his best work so far. One reason is because how well the show utilizes its music. All of the main and important secondary characters get their own themes: from Ryuuko and Satsuki, to Mako and her family, to the elite four, and so on. Imaishi also puts the music to work in interesting ways, particularly in one battle between Ryuuko and Nonon from the elite four, as they fight with sound waves. The music itself is composed of booming and passionate insert songs which work phenomenally, and instrumental versions of those songs. There is also a little Beethoven in the soundtrack, which is always a good thing.
To put it simply, Kill la Kill is absolutely insane in the best possible way. It isn't a particularly deep show, and claims that it 'saved anime' are as preposterous as some of the plot twists in the show. However, the fact of the matter is that this is one of the most purely enjoyable anime ever made. Kill la Kill is a show that doesn't stop to reflect on its crazed plot. Rather, it blasts full speed ahead, obliterating any notions of logic or moderation. And really, that is what makes it so endearing. It's a fearless show that pushes on ahead, no matter how crazy it looks as it goes along.
Reviewer’s Rating: 9
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Apr 3, 2014
Kurenai is a show that blends several different story elements together. It's an action thriller, complete with secret organizations and trained teenage operatives. It's a story of personal growth, with the two main characters learning what is most important to them and how to fight for it. It's a slice-of-life with quirky characters and hints of romance. This all adds up to a 12 episode show that gives you a good taste of each, while managing to tug on your heartstrings from time to time. Yet, unfortunately, for all the juicy morsels it offers up, Kurenai is oddly un-filling. There is a feeling Kurenai could
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be better had it developed some of its ideas further, and cut off some parts that were needless. The result is uneven, yet ultimately rewarding enough to warrant a watch.
Some suspension of disbelief is required to fully accept Kurenai's story, though that can be said for a lot of anime. Our protagonist, the titular Shinkurou Kurenai, is a regular high school student at first glance. However, outside of school, he works as a mediator for an underground organization; a "problem fixer" of sorts, as he puts it. His next assignment is a big one, he must look after a precocious 7-year old girl named Murasaki Kuhouin, who escaped the cruel fate of women of the Kuhouin clan with the help of Kurenai's mentor/employer, Benika. This will be no easy task, as the Kuhouin clan is searching for their runaway. The other meddlesome tenants of Kurenai's apartment building don't help matters, either.
The focal point of Kurenai's plot is the relationship of the two leads. Kurenai and Murasaki are interesting all on their own. Kurenai was orphaned at a young age, when his parents died in a terrorist attack. He has a deep admiration for Benika, and he aspires to be as strong as her one day. He works under her in order to reach that goal. Still, he is rather meek and humble, and doubts himself. Murasaki is articulate and mature for her age, forced to grow up quickly by her clan's traditions. She's also rather haughty from being pampered, and naïve about the outside world which she was raised to have no connection. The bond between the two is one of mutual growth. In the case of Murasaki, she learns from Kurenai (an the other tenants of the apartment building) the mannerisms and ways of common people. She also learns do deal with strong emotions as the relationship between her and Kurenai deepens, as well as how to truly treasure a relationship. For Kurenai, Murasaki becomes someone to fight for, someone to protect. This not only drives him in his attempts to grow stronger, but builds his convictions; even to the point of defying Benika if he must.
It is good that the relationship between Kurenai and Murasaki is strong, because it is ultimately what holds the show together. The narrative of this show is not the best constructed; it consists of very loosely structured arcs, which can become unfocused. The mid-series episodes in particular are meandering and sort of aimless. This does not mean there is no development, Kurenai and Murasaki's relationship grows slowly, but the plot just sort of comes to a halt. The episodes themselves aren't unenjoyable, there are some fun situations and misadventures. However, the novelty of seeing things like the residents of Kurenai's apartment building practicing for a musical wears thin quickly. It is a godsend when the plot finally gets moving again in the last third, though the use of coincidence in kick starting the plot is a bit irksome. From there, the show delivers some hard-hitting emotional scenes, majority of the show's fights, and a mostly satisfying conclusion.
The supporting cast is a bit of a mixed bag. The brightest piece in the bag being Benika, who fills her role as Kurenai's mentor and employer very well. Their relationship is somewhere between business and personal. She holds the reins loosely on Kurenai and her other subordinates, but doesn't hesitate to exercise authority when it is necessary. She genuinely cares for Kurenai, but keeps a professional distance from him most of the time. Kurenai's mischievous land-lady, Yamie, is fun comic relief. As is equally as mischievous college student Tamaki. Their shenanigans with Murasaki provide most of the enjoyment in the meandering middle episodes. The same cannot be said for Kurenai's schoolmates/ potential love interests, Yuno and Ginko, who are essentially just window shopping. Both have feelings for Kurenai, and neither goes anywhere. The Kuhouin provide some note-worthy villainy, mostly from Murasaki's menacing older brother Ryuuji and the battle-crazed Lin, but aren't given all that much screen-time.
This show was animated by Brain's Base, but before they hit the peak of their popularity, and is one of their lesser known works. The show is a testament to the studio's quality work even before it gained notoriety. This show looks really good. The character designs are distinct, vibrant, and expressive. Murasaki's design in particular is fantastic; it hits the right balance of childish youth and demure beauty to illustrate both Murasaki's age and her upbringing. Benika's casual and yet commanding appearance fits her perfectly, as does the very formal look of her subordinate Yayoi. Ryuuji looks every bit the well dressed sleaze he is, and Lin's facial expressions are fittingly deranged. Kurenai's design has a bit of bishounen flavor to it, but is still distinctive compared to the worn generic designs that plague all too many male anime leads. The animation overall is good too, but there are some rough spots. These rough spots are most evident in the show's fighting scenes; characters don't move quite as fluidly as the trained combatants should. Sometimes their movements look kind of unnatural. Editing-wise, the transitions into fights sometimes feel choppy or abrupt, though some of the editing also makes up for the animation short-comings.
The music is dominated solemn orchestral and jazz pieces. Piano in particular is heavily used in the soundtrack. Usually, a show will have more energetic pieces with high tempos for action sequences. However, with a few rare exceptions, this is not the case in Kurenai. Slow solemn pieces are often used for fights, and remarkably, this actually works. The melancholic tone of the music is used to give gravity to the fights, making them serious and visceral occurrences. At times the music choices can get a bit tiresome as a few tracks are often repeated, many times in the same episode. However, this does what a good soundtrack should do: support the visuals and content of the show.
Kurenai is a solid little show worth watching despite its various flaws. At its core is a strong central relationship that carries the show through its rough patches and remains endearing throughout. The middle episodes do drag and lose focus, but once the plot pulls itself together, it delivers some emotionally gripping moments that really accentuate the relationship between the two leads. It even throws in a few good laughs and fights when it is at its best.
Reviewer’s Rating: 7
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Mar 27, 2014
Pupa is an interesting little creation. Originally set to be aired in Fall 2013, the show's production seemed to be riddled with uncertainty, eventually being pushed to being aired in Winter 2014 in 4-minute long episodes. The show has a dark but oddly enticing premise that promised to rip through comfort zones and break taboos. The vagueness of the premise and its twisted implications served to deepen its allure, as did the delay in its release. Needless to say, it caught the interest of many in the anime fan community. After all the waiting and wondering if the show was even going to be made,
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it finally aired... and boy, it is one mess of a show.
Pupa's story is a bizarre and gruesome one, both in content and execution. It chronicles the twisted, cannibalistic relationship between Utsutsu and his younger sister Yume, who is turning into a monster. See, Yume was infected with the mysterious Pupa virus, which periodically transforms her into a horrific monstrosity that will eat any living thing she comes across. To appease the beast, Utsutsu offers up his own flesh to Yume, only to find out he is also infected with the Pupa virus, which gives him regeneration; allowing him to offer up his body for Yume to devour time and time again.
Grotesque as the story might be, there is a lot of potential here. For Utsutsu to continuously allow himself to suffer such physical pain for Yume's sake indicates an uncomfortably strong attachment to his sister, even an unhealthy one. This is in line with the fetishistic brother-sister relationships which have become prominent in anime, but with a more sinister edge given the show's content. The premise almost acts as a subversion of the sister-fetish trend, with the relationship being physically self-destructive for Utsutsu, and likely mentally damaging for both of them. This is a corrosive relationship that sees sibling love go to dark and thoroughly unhealthy extremes yet a horrifyingly necessary one for Yume. Flashbacks reveal that Utsutsu's obsessive over-protectiveness of his sister stems from a troubled family life and parental abuse, adding more unsavory implications to the equation.
It is a shame, then, that the show is only able to gloss over these issues rather than fully fleshing them out. This is very much because of the 4-minute running time of the episodes. This small amount of time forces us, the viewers, to see the situation through a keyhole rather than allow us to see the whole picture. Episode 6 most clearly exemplifies the show's potential to subvert the sister-fetish trope, with Yume eating Utsutsu portrayed in a way that is discomfortingly sexual. This scene, however, takes up the entire 4-minutes of the episode; four agonizingly slow and uncomfortable minutes. There isn't any room in an episode to be contextualize the themes of the show, so it becomes simply gratuitous. This is incredibly damaging to the show; without effective development of the themes of parental abuse and a damaging borderline incestuous sibling relationship, all that remains is shallow shock factor with questionable value. That the final episode is completely unnecessary, not to mention completely tone dissident from the rest of the show, is a testament to this.
The restricting time constraints also rob the show's plot of coherence. There are dozens of unanswered questions and hanging plot threads. The titular Pupa virus never gets a definitive explanation, it is never made clear how the virus functions outside of what is required by the premise, or even how it came into existence. A mysterious woman called Maria, who knows more about the Pupa virus than the two protagonists, gets almost no screen-time in comparison. A secret organization(?) is introduced late in the series with no clear motivation besides apparently trying to destroy the Pupa virus, somehow. Events in the plot have no clear flow, and unfold with little cohesion or connection to one another. The story overall is a clustered mess of various plot points that gets entangled in itself, and ultimately loses sight of where it is going.
Director Tomomi Mochizuki's (Ocean Waves, House of Five Leaves) visual direction and sound design are actually a saving grace for the show, despite the obviously low production values. Sure, the character designs aren't strikingly unique, and the rampant censorship does hurt the series. However, the washed-out watercolor of the world these characters inhabit gives the visuals a haunting quality. Mochizuki direction is sometimes like a hazy fever dream, scenes of horror unfold like waking nightmares. The use of teddy bears to enact horrific events is also surprisingly effective. The orchestral and piano driven score is filled with dissidence, and even the few tracks that aren't heavily dissident are quite melancholy. This works well to create a haunting atmosphere. The munching noises Yume makes while feasting on her brother are also appropriately nasty. Still, production values as low as the ones for this show are a hindrance not even the best of direction can hide, and Mochizuki's direction is only just competent. There are some images that fail to look the least bit frightening, and perhaps even comical, because of the dismal budget behind them. Most notably, a scene where Yume is transforming into her monster form in order to unleash her wrath on soldiers that are torturing her brother and holding the siblings captive; her glowing eyes and inhuman appendages just look silly. An abundance of stills are used, and tracks of music are revisited over and over again.
I don't think Pupa is quite the unwatchable failure that its detractors claim it to be. However, that isn't to say the show is good or even successful, it is not. It does have an intriguing premise, some haunting imagery, and a decent grasp on atmosphere. Unfortunately, those are the extents of Pupa's accomplishments, because nearly every other aspect is a mess. This really is a disaster of production, courtesy of the infamous Studio Deen, which won't be getting any boosts in reputation from this somewhat ambitious but very much failed project. Which is just a shame, because Pupa could have very well been a delightfully nasty tale of the macabre.
Reviewer’s Rating: 3
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Oct 23, 2013
Sometimes the simplest of ideas work surprisingly well. Yamishibai: Japanese Ghost Stories (or Theater of Darkness) is essentially the animated equivalence of telling spooky stories by the campfire. Of course, unlike campfire ghost stories, it has the advantage of telling its story through visuals and atmosphere setting sound design. This is as rudimentary as storytelling gets, short and quick to the point. Yet these tales of horror are plenty effective; distilling the tense atmosphere and shocks which make those short ghost stories so much fun.
Yamishibai wholly commits to creating a creepy atmosphere from beginning to end. The short opening for every episode has a man
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in a creepy mask telling a bunch of pale, lifeless looking kids with bloodshot eyes at a playground to gather round and listen to his story. The color pallet is all grimy, dank, and subdued. Lighting is used to ominous effect, casting shadows and shining at discomforting angles. Ambient noise and a few musical tracks create tension very efficiently. The show does a good job building up to the inevitable jump scares in every episode, which are surprisingly effective given how prevalent they are. You could probably have a seminar on how to properly do a jump scare using this show.
To say that Yamishibai is animated is a bit of a stretch, actually. Fluid motion is pretty much non-existent here, and characters mouths don't even move when they talk. It isn't done in the traditional animation, instead much more like an elaborate puppet show of sorts that uses paper cutouts. Oddly enough, this doesn't hurt the show, and in fact it even works to the show's benefit, although it makes quite clear that there wasn't much of a budget behind this project. This style gives the show an almost other-worldly feeling that helps the scares along, as they might have come across as trite in a more traditional animation style or live-action. The constantly on-edge voice work and ominous use of sound complete the creepy package.
With all this said, Yamishibai is undeniably a one-trick pony. The only thing the show actually accomplishes is the effectively creepy atmosphere. The stories themselves are, frankly, unremarkable. Yes, they are steeped in Japanese occult lure, which is interesting, but that is it really. They are only serve as the skeleton for the show's short creepshows. They never give much of an explanation and ultimately don't leave any sort of impression. The stories all follow essentially the same formula, and so can be very predictable. Some are outright silly, most notably an episode that features a poop monster, and are only saved through the show's effective atmosphere. This is excused by the fact that these are short episodes with run-times no longer than 5 minutes, but it is clear that Yamishibai is as narrow in scope as a show can get.
Minimal ambition aside, Yamishibai is a fun little taste of the macabre. All things considered, it is nice little collection of creepshows. It isn't a big time commitment only spanning 13 episodes, roughly around an hour with the short running-time of the episodes. It's a good little time-waster to watch in the dark.
Reviewer’s Rating: 7
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Oct 21, 2013
To say that Attack on Titan (or Shingeki no Kyoujin) is the most popular anime of 2013 is an understatement. The hype and popularity surrounding the show is much like its iconic Colossal Titan, a massive juggernaut towering over all the other anime that came out this year. And not without good reason, few shows can match Titan for sheer adrenaline fueled gut-wrenching entertainment. It is a hard-knuckled actioner that doesn't hold back any punches, as it beats the audience into a state of shock and awe. The show is bolstered by its grandiose bravado, massive scale, ruthless twists, and broad
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appeal. It is not wonder it grew to such great popularity instantly. However, that does bring up the eternal question: does the show live up to all the hype?
Attack on Titan is a show so popular that its plot hardly needs to be summarized. The premise of mankind being forced into hiding by a monstrous and mysterious foe that threatens its extinction is hardly an original, but it is a tried-and-true one which instantly hooks the viewers' attention. Attack on Titan uses this premise as the foundation for a harsh and merciless yet endlessly interesting world with a lot to explore.
The setting is fantastical, with unbelievably humongous walls which encompass the surprisingly vast human territory, which is divided into 3 sections. Despite this grandeur, the world feels grounded by a sociological edge. Humanity has grown use to being confined within the protection of the walls; complacent and afraid to venture outside to reclaim the world they had lost to the monstrous titans. Even within the walls, there is a pecking order, with the richer and more privileged having the protection of the inner walls, Rose and Sina, while the less fortunate only have the protection of the outermost Wall Maria. This, of course, has disastrous consequences when the walls are breached. The world is so expansive that the eye-catches before and after commercial breaks feature snippets of information that couldn't be worked into the main narrative.
Along with these grand settings comes a humongous cast of characters; which largely works to the show's benefit, though not completely. Having such a large cast of characters establishes just how tremendous the struggle for humanity's survival is. Seeing so many named characters in risk and at the mercy of powers greater than themselves, the fact that the survival of the human race is at stake really hits home. It also illustrates how small these characters are in the face of this conflict. Characters die regularly, their lives often being snuffed out in inglorious desperation. The dead are grieved by those close to them, and treated with indifference by the bruised masses, who are too busy dealing with their own pain and loss. This disheartening depiction of battle and death is in stark opposition of the idealistic heroism depicted in most shows aimed at the shounen demographic, making it strikingly unique. Of course, the downside is that a lot of characters get barely any development. For as many characters as there are, very little of them are actually have a prominent role; most just feel like background (albeit sometimes quirky distinctive background) or body fodder for the titans to munch on. The sheer volume of characters makes it difficult for in-depth characterization for much of the cast, which is a shame because there is some potentially great characters that just don't get enough screen time. Still, the way the show uses its high body count to accentuate the desperation and tragedy mankind faces makes it hard to complain.
Our protagonist, Eren, of course gets the most screen time and focus. In many respects, he's a typical shounen lead; driven, idealistic, and quick to fight. Personality-wise, he can come of as somewhat monotone in his single-minded goal of killing titans, but it's justified given the tragedy he suffered at the hands of the monsters. He can at times be overshadowed by the more colorful personalities in the show, but his anger and determination make him a logical center for the series. His burning desire to destroy the titans and overcome the complacency mankind has fallen into is at the heart of Attack on Titan, and becomes a particularly potent focal point when Eren develops a power that makes him both a subject of persecution and mankind's best chance of survival.
The other two most prominent characters are Eren's childhood friend Armin, and adoptive sister Mikasa. Of the three of them, Armin is the wimpy kid, but also the smartest. Unlike fiery Eren or stoic Mikasa, Armin is lacks confidence at the beginning of the show and is convinced he is a liability, being physically weaker than most of the other characters. As the series continues, situations arise in which his strategic and negotiation skills become vital, and Armin becomes more confident in himself. It's a tried-and-true method of development, and it works well here.
Mikasa is the strongest warrior of the three, and arguably of the entire show. More importantly, though, is her fiercely protective nature, especially where Eren is concerned. Being as strong as she is, Mikasa puts the weight of her comrades squarely on her shoulders, and has a strong sense of justice. Despite this, she is more pragmatic that Eren in her values, which coupled with her over-protectiveness causes them to clash. Her almost maternal instincts and some more intimate moments make her distinctly feminine, something that fiction (all fiction, not just anime) often struggles with. Some jaded viewers might see her attachment to Eren as the overused 'brother complex', and there is certainly more than a little ground for such accusations, but they're likely brought on by overexposure of the trope through anime more than anything else.
All of these things give weight and substance to the show, but what really makes Attack on Titan an entertaining watch is its unstoppable momentum. Yes, there are some pacing issues; arcs stretch out for episodes and episodes in a series that only has 25. Yet every episode leaves an insatiable desire to see what will happen next. Director Tetsurou Araki has all but mastered the art of keeping viewers on the edge of their seats. The show truly feels epic with its crushing bombast, fantastic action sequences, and Araki's signature booming direction. The show is hardly subtle in its heated confrontations and moments of overwhelming despair, but it really doesn't need to be. This is a show of great stakes and big emotions; the kind of show overblown dramatics were made for.
Production-wise, Attack is really quite impressive. Wit Studio, a subsidiary of Production I.G., does some great work bringing the vast world to life. The walls that enveloping the human realm are enormous, imposing structures. The over-crowded stone cities, military grounds, and long stretches of rural areas are well detailed; each having their own distinct atmosphere. Character designs are strikingly different from most anime, with sharp facial features and a European ethnic flavor, with Mikasa being the only character of Asian descent. The titans essentially are giant naked naked people, but genuinely are grotesque and intimidating. There are times their faces can look silly, though (i.e. the infamous moe-face titan) The few special titans look particularly nasty with their fleshy, skinless appearances. There are moments of obvious budget restraints and even a few sequences that are glorified slide-shows, but they are easily forgiven by the mind-blowing, movie quality action sequences. The music is equally as impressive: well composed, bombastic, and entirely fitting for the show.
So, to answer the question from the beginning of this review: yes, Attack on Titan does live up to the hype. Granted, it isn't exactly a flawless masterpiece; it certainly has a few rough spots, including a very open ending. However, it wholly delivers on the promise of being an incredibly entertaining post-apocalyptic bloodbath of epic proportions. Furthermore, it has more than enough substance and emotional girth to elevate it well above the normal bloodbath. This is a great example of what this kind of show can be; a courageous struggle in the face of insurmountable odds.
Reviewer’s Rating: 9
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Sep 27, 2013
WATAMOTE -No matter how I look at it, It's you guys fault I'm not popular- is a comedy aimed straight at dysfunctional geeks, or former dysfunctional geeks, who can laugh at their own faults and take them with a grain of salt. Its gallows humor centers around a socially inept mess of a protagonist who goes through life repeating the cycle of self-embarrassment and loneliness while learning nothing from it, and garnished with anime and pop culture references and parodies. It's a show that hits painfully close to home for anyone who has social anxieties, yet playful enough that it remains morbidly funny rather than
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becoming straight-up depressing, most of the time at least. It's also pretty blunt about who's really at fault for all the main character's problems.
Our social misfit of a protagonist is Tomoko, an unkempt antisocial teenager entering her first year of high school. Despite having difficulty with talking to the opposite sex and having hardly any friends in middle school, Tomoko convinces herself that she will become instantly popular after her high school debut. It goes without saying that this isn't the case. Instead, she ends up brooding, having odd fantasies, and lamenting the fact she isn't popular. She spends her days fading into the scenery and going unnoticed by her fellow students, except for her occasional bouts of awkwardness; her days off school are usually spent cooped up in her room. Still, she's determined to gain popularity among her peers, even if she has absolutely no clue how to go about accomplishing that goal. Cringe inducing awkwardness and hilarity ensue.
Majority of the show's humor comes from Tomoko's breathtaking ineptness. Not only does she have trouble talking to people, she has no sense of how to handle social situations at all. On top of that, she's also pessimistic and has a really dirty mind. Consequently, she constantly misinterprets even the simplest of interactions and blows them out of proportion; sometimes putting a sexual twist on them. A single kind gesture from a boy sends her into hilariously ludicrous fantasies of that boy having having a crush on her and becoming her boyfriend, even if there isn't a single indignation that he is actually interested in her. She comes up with half-baked ideas how to get noticed by her classmates which either go unnoticed or cause her embarrassment, even as she has overblown daydreams of becoming the most popular girl in class. She even botches an attempt to impress her visiting younger cousin, who had actually admired Tomoko until this particular visit. It would be depressing (actually, it still sort of is) if it wasn't for how clearly deluded Tomoko is (she takes social ques from anime), and the show's unhinged presentation of her delusional fantasies and social ineptitude.
The irony in this is, despite coming up with harebrained ideas to get her classmates' attentions, Tomoko rarely tries to interact with them normally. Instead of actually attempting to get acquainted with her fellow students, she just mopes around and daydreams about having friends. Of course, this is partly due to shyness, but Tomoko actively avoids interacting with people. She's also jealous, and even a bit spiteful, towards people more popular than her. Tomoko's loneliness is something she brings upon herself, if even just partly. Of course, she's unaware of this; propelling the show's morbid laughs as she runs around in circles.
Now, you may have noticed Tomoko is the only character I've mentioned so far. This is because she is very much the essence of the show; she is horribly pathetic and self-centered and incredibly counter-productive, yet somehow surprisingly sympathetic. Her desire to become popular, warped as it is, comes from a genuine place. Beneath her unkempt appearance and unsocial demeanor, she's a confused teenager looking for someone to connect with. As funny as her misfortunes can be, and they can be pretty damn hilarious, there's an underline melancholy to them. This resonate strong for anyone who has had crippling social anxieties like Tomoko. What makes WATAMOTE a breath of fresh air is that it is able to spin these negative feelings into something fun to watch. The show's manic energy and countless silly references to other anime (K-ON, Fist of the North Star, and Another just to name a few), which usually take form in Tomoko's delusions, keep the humor from being overwhelmingly bleak... most of the time, at least.
The other characters in the show have significantly less attention, which isn't surprising given the nature of the show, but add extra flavor to the show as they interact with Tomoko. In complete opposition to Tomoko's high school experience, her best friend from middle school Yuu (her only friend, really) has made a full transformation from quiet shy girl to a trendy, fashionable girl. Unlike our protagonist, she's friendly and sociable and actually pretty sweet; even with her new found popularity she makes time for her unsociable middle-school friend whenever she can. It's rather funny to see the striking contrast of the separate paths the two took after middle school. There's also Tomoko's younger brother, who always seems to be at the butt of Tomoko's shenanigans at home. Their vague animosity towards each other mirrors that of an actual sibling relationship, something that is oddly rare in anime. Late in the series, there's also a character that gives Tomoko a much needed hug.
Director Shin Oonuma has a very busy visual style, constantly throwing colorful and weird imagery into scenes; a habit that has been unnecessary in some of his previous works. This fits WATAMOTE like a glove, however. Tomoko has a very skewed outlook on life and an equally as overactive imagination; Oonuma's manic direction does wonders to illustrate this. Sometimes this comes in little touches like many of the characters having minimal detail in their designs, or Tomoko slowly becoming transparent and fading into the background. Other times it takes form in delirious spectacles, such as any of Tomoko's ludicrous fantasies. Also adding the unhinged visual design is the oddly angled lighting and color schemes and visual windows into Tomoko's thoughts. Tomoko's character design itself is cute in a dirty abandoned puppy kind of way; giving her some major icon power. You get the feeling that she would look pretty good if she actually took care of herself.
The music is on the zany side. It's reminiscent the usual light music used in high school comedy anime, but with a distinct oddness to it that works well with the visual design. The real attention catcher, however, are the show's opening and ending themes. The show has several different ending themes; all of which are both fun to listen to, and a little crazy. The main ending theme is preformed by Tomoko's seiyuu, Izumi Kitta (who does an incredibly job in the role), and fits the character perfectly. The opening theme is a blast of hard-rocking energy that is accompanied by visuals that encapsulate the show's themes and change slightly as the show continues. It is easily one of the best anime openers in recent memory.
WATAMOTE doesn't live to the likes of Welcome to the NHK or The Tatami Galaxy, which feature similarly dissatisfied protagonists, because Tomoko ultimately doesn't grow or develop much at all by the end. The show itself says that "her story doesn't really matter". However, perhaps because of this irreverence, the show is gigantically entertaining. While social anxieties are certainly a serious issue, there is something refreshing about having a show that centers around them not take itself seriously. The show isn't trivializing such anxieties or even making fun of them. It's simply inviting the viewers to laugh them off.
Reviewer’s Rating: 8
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