Worst anime on MAL, ever?
This OVA is messed up in several ways. The storytelling is somewhat confusing, and the animation and visuals are a mix of different things, but overall, the direction is the biggest problem. Because there IS a story in here. If you pay attention, you can even understand it. It is not grand, not terrible, just a story for a 18 minutes OVA. It is just that the writing, storyboarding and direction make it confusing. This is a tale of an immense failure, with people all doing exactly what they were told not to do in a crisis, and everything goes awry
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Sep 6, 2025
Bocchi the Rock!
(Manga)
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Not Recommended Preliminary
(42/? chp)
It is not that often that i would actually resent a manga / anime. It can happen for three different reasons.
1) The thing is just that tragically bad and infuriating ("Goshuushou-sama Ninomiya-kun", "Infinite Stratos", "Kimi ga Aruji de Shitsuji ga Ore de" are examples of this). 2) The thing was full of promises, but then undermined itself so tragically that i ended up resenting it for wasting so badly its potential (this applies to "Ore no Imouto ga Konnani Kawaii Wake ga Nai ", "Nijuu Mensou no Musume " (this one hurts), "Kore wa Zombie desu ka?") 3) Lastly, it can happen if i find the thing ... just plain disgusting ("Death Note", "Watashi ga Motenai no wa Dou Kangaetemo Omaera ga Warui!", and finally, "Bocchi the Rock"). Yes, this thing called "Bocchi the Rock" is the number 3 case. I will state it immediately for the sake of convenience: if you hated "Watamote" as much as i did, if you felt that a comedy manga meant to get laughs from showcasing a suicidal kid suffering is more disturbing than it is fun... then you should probably avoid Bocchi, too. I have read 42 chapters, then sort of understood that Bocchi wasn't evolving. All that 'humour' around her social anxieties and depression was getting repetitive. So i checked a few pages of chapter 85 in order to confirm or disprove my suspicions... Needless to say, they were proven right. It became clear very early to me that "Bocchi the Rock !" suffers from the very same massive, central problem as "Detroit Metal City" and "Yowamushi Pedal". The so-called 'humour' takes a lot of place, and it almost integrally revolves around the MC being ridiculed for laughs. Think about this for one minute: why is this such a damning mistake? It is simple: because making a comedy manga where the MC is the comic relief means that you can't reach a point where the MC is not the comic relief anymore without throwing out your whole comedic set-up. And when said humour is about ridiculing or bullying said MC... well... you get what you would expect: NO character developement whatsoever, and the MC will get consistently put in the same embarrassing situations until the point where the author doesn't need to "sell" anymore (i.e: near the end). To me, reading this becomes tantamount to reading psychological torture masturbation porn. And i can't imagine how anyone can take joy to the end in reading this, unless they are bullies themselves. Watching a MC character suffering, getting mocked and ridiculed, fighting her condition, but never getting rewarded for her efforts, is just depressing and sick after some time. Even more so when you understand that it is not about what the story is like. It is just as gratuitous as maintaining the original comedic set-up in order to get more laughs over the years. It is important here to consider that the author simply genuinely believed that making her MC a shut-in and then torturing her in every way possible in her 'comedic moments' was simply the way to go to craft good fun. If you disagree with this stance as much as i do, simply avoid this. There is no revenge to be had, or justice to be found. It starts and will probably reach near the end with Bocchi being severely embarrassed by situations at all times, and it being supposed to be fun, even by chapter 90 or so. I know that in Japan, there are actually cases of people and celebrities that have been cancelled for bragging about bullying others at school, because they genuinely thought this actually made them part of the group of the 'popular' kids. Like a badge of honor, maybe? Even some teachers have been known for actively participating in said bullying of students. In some cases, under the pretense of "it is their own fault, it is what they get for not fitting". I even saw once an interview of a japanese on YT, by a japanese, and it was necessary to see the face of his girlfriend when he started to brag out of nowhere about this... She was sick, and i was, too. But he didn't realise it. And then, this is a society where something like "Watamote" is actually popular. You don't need to look for explanations that far, sometimes. Still, the whole thing still could have worked here, if only the author had actually accepted to throw out her premise midway through and made Bocchi actually evolve, become more socially apt, and actually reap the rewards of her hard work. It wouldn't have been a problem to make Bocchi such a character if the author was committed to tell her story. But this doesn't happen, and won't happen. "Medalist" does that, too. Inori is basically the same as Bocchi. But it works. Why you ask? Because in "Medalist", Inori evolves. Her suffering and lack of self-esteem mutate into something close and different at the same time: the absolute need to assert her value in her own yes, and in the eyes of others. But Inori is not the central comic relief of the story, as opposed to Bocchi... Because again, making a manga where your MC is the central comic relief is the best way to make sure there is no character development to be found. From a wimp, Inori turns into a somewhat disturbed but strong character, and continues to evolve organically little by little, once she found the way to give her life value and meaning. Bocchi found this way, too, through music. But she NEVER evolves. She is the "guitar hero" adulated by everyone on the internet. But she will remain the loser she always was in life, no matter how much her band becomes successful. She will never learn how to look people in the eyes, and not to stammer when saying "hello", because the author wouldn't have anything fun to do with this manga if her MC actually made some progress. The number of disastrously embarassing situations Bocchi finds herself in, in this manga... This is so over-the-top. I have read comments of people saying how reading was painful. DARN IT IS indeed. This is a normal reaction from an actually somewhat empathetic human being. I can't even begin to fathom what kind of people can actually wholeheartedly love that kind of thing from beginning to end, when they know that the character will never be redeemed. Makes me think of these people who slow down to see if someone is dead when they come across a car accident. Or those who pro-activey enjoy looking for gossips about this celebrity or this one, that is going through hell in their life. Is watching human misery that satisfying and funny? Who has never met a kid like Bocchi and still can't relate? This is, again, the heart of this manga. In the backdrop, you have the musical career, that somehow makes progress. But Bocchi's status and mindset and fears never truly change, even after 7 or 8 volumes. Bocchi is a character that can manage to play guitar somehow before hundreds of people, but can't even enter a random shop. This is obvious contrivance. Obviously, her social phobia is again used as an excuse by the author to explain why she actually sucks at playing guitar, despite Hitori being the genius "Guitar Hero". You know, this whole.... 'but i can't play well if there are people around, even after dozens of concerts'. Because yes, she doesn't get used to it, either, beyond the plot-necessary "the band needs to make progress for the story to make progress too". That would destroy the never-changing comedic set-up, after all... You can tell from all this that the author won't let go of her 'lame Bocchi that gets laughs' even if her life was at stake. This is once again a case of a MC that has to be lower than everyone, a hero who, no matter how skilled or special, will be ignored for life by society. All the other group members will be adulated, celebrated, but Bocchi will likely remain in the closet, just because she is the MC, and MCs pertain to the closet. Yet again, the 'invisible hero trope' at its very worst. See? The whole thing is throughly contrived by the author to somehow manage to further her musical story without compromising the nature of the laughingstock that is meant to be her MC. The humour actually works in the beginning: it is visual, imaginative and while the base of the jokes is the same, they come in all sorts of shapes and forms. But by chapter 30, even this stopped being enough, and it started to feel repetitive. Because ultimately, it is. It only worked in the beginning, as long as i thought the character would be redeemed, as it was in "Medalist". It was my mistake for believing that something as fetid as "Watamote" had to be an exception. And i am sorry to say that, despite this review tackling mostly Bocchi herself, i feel like i truly adressed most important aspects of this manga. I mean, that is truly the bread and butter of it all. The manga's title is the character's name after all. The anime wasn't so bad because there were music scenes (even more than one song at times, which was great), and they extended many scenes. Utimately, it only adapted 21 chapters. So, the whole season 1 doesn't have time to turn rank and remains a decent watch. But one thing is for sure, after reading the manga, i removed Bocchi Season 2 from my 'plan to watch' category on MAL.
Reviewer’s Rating: 4
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Sep 3, 2025
Rock wa Lady no Tashinami deshite
(Manga)
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Recommended Preliminary
(46/? chp)
So... I will start by emphasising that you may struggle to find this... Looks like the internet is your only option. At the time of writing this, only 9 chapters are translated in english. Normally, in these cases, i read in french. Except this time, no french version either. If you understand spanish, a south american team is taking care of this (although from my perspective as a french, this is 'broken' spanish that is pretty difficult to read, since to me, spanish is naturally going to be about Spain). I am thankful that i can read and watch stuff in several languages. But still...
...
if you want the whole thing, you will have to look for the raws, obviously in japanese. My japanese (especially reading) sucks, and i didn't have the courage to try and decipher it. So this will be based on the Mexican (i think?) fan version. Because yes, this manga is not published where i need it, so it is not like i could actually support the author, even if i wanted to...
This manga is niche, this review will probably be ignored, but well, not like i was writing this for the likes... There is a need for more different perspectives, i believe. And so here is mine. Quite frankly, the pitch for this didn't exactly make me hopeful. It felt like your usual low quality Light Novel schtick that tries to use an original idea (no matter how far-fetched) as an attention grabbing device, before devolving into a slog by displaying a writing level that showcases how the author should have tried his hand at another job instead. You know what i am talking about right? This 'bland light novel of the week' phenomenom where they somehow manage to get anime adaptations for beyond unfathomable reasons. This here is a seinen, i.e. meant for adults, and so i write this fully expecting that you are not 12 years old. If you are, then we will probably never agree, as i could be your dad i guess, so better look elsewhere. This manga only introduces character circumstances and backgrounds very slowly. I consider that to be a strong point as i hate with a passion 'character arcs' that throw at us a tear-jerking, never-ending flashback background story as a nauseating device meant to force us to care about the character. It seems that many authors don't understand AT ALL that backstories mean NOTHING if they are there just to be there ("One Piece" being probably the worst pile of bullcrap i have seen in my entire life in this regard). The best characters i have seen are characters that DO NOT have these flasback backstories. They are characters that we get to see evolving in their everyday lives, and we get to know them not through the dog they lost when they were 3 years old, but rather their way to go about with their lives. I never met someone in real life that i couldn't get to know unless i had their whole backstory in three 20 minutes episodes. Get what i mean? I may learn about their lost dog while talking with them. Authors that force tear-jerking flashback backstories on their readers are consistently authors that suck big time at writing characters in the first place. Because they can only build them by considering 'traits' or 'archetypes' rather than the person they are meant to be. This manga does not waste time with such things. We get to see the characters evolve, we get tidbits of who they are when it is relevant, flashbacks are generally one page long maximum (and are just flashes indeed), and they only happen when they make sense. This allows for the story and storytelling to flow naturally. At some point, i thought Ririsa was being too meek. Then, much later on, while following her during her everyday life, we learn that there are reasons for it. There is NO exposition dump and story elements are revealed on the go as the characters stumble upon them. At times, it may feel like we lack information to fully understand a character's stance, but everything comes when it should. This allowed me to feel much closer to Ririsa that i would have expected at first. This is clearly character driven. Otoha, by chapter 56 (raws), remains mostly a mystery. She is an egotist weirdo, and we don't exactly know what kind of environement made her that way. We will learn about it i am sure, once something happens that forces her to communicate this information to others and once that becomes relevant to the story. Thank Whoever for not having dumped her backstory upon me before i could even care. Especially when the next concert is around the corner. Because gosh, i enjoy concerts MUCH MORE than information dumps, especially when the latter is put just before said concert. As i said, the storytelling flows properly, and i hope you now understand better why. Tina remains the weak link here. Her introduction and profile are tired tropes. Not even interesting ones. Plus, the lines she spouts when trying to join are embarrassing. The anime made it even worse somehow. She is, you know, the timid type trying to uncover her true self by playing music, and she begs a lot. Later on, she proves to be extremely strong, managing not to get swept away by negativity when she realises how much of a gap there is with the others. Differences in musical knowledge and culture and their implications are especially well presented. So, she will be annoying only for a short time (although i could have done without the 'big breast jokes' to be frank...). I appreciate that this is about metal, too. The anime uses Band Maid's tracks, and this is a great choice. It makes it all epic. Especially for someone like me who mostly listens to metal and classical music (yes, i believe that these two are actually pretty close to one another, and i can not understand people who put them at opposite ends of the musical spectrum. The opposite of classical is Rap to me. Obviously, that means that i hate this genre even more than electro music. But i digress...). And as opposed to atrocities like 'Bang Dream', this is NOT an idol series in disguise. The band here plays metal, real metal. There is no 'friendly sugar', or 'power of a friendship' here, either. This is a genuine metal manga emphasising characters that feel chained by their circumstances and only want to get free and go wild. I can relate with this. Totally. Metal, more than any other music style, is all about breaking free, all about inspiration. All about letting go of everything that we keep sealed deep within us. And there IS indeed some intense, fiery feelings that may go with it. The other review here, by curvedtree (perfectly commendable one, read it if you can) seems to misunderstand the use of BDSM imagery in there. I believe using this makes perfect sense. These characters free themselves from everything that crushes them down (the 'oujou-sama pressure' here). I don't quite know how to describe this feeling in english... and i don't expect most of you to understand french. Suffice to say that making a parallel with orgasms is not as outlandish as you may think if you don't care about metal. Despite what some may believe, metal is about life, energy, and even hope. It helps exorcise dark things, plunge into the abyss in order to get back to the light, and, overall, can make a tingling feeling grow in your chest until frantic hysteria. Especially during concerts, due to the atmosphere and the resonating effects when with others in a group. The only other music style that may make me feel something close (although less fiery) is classical music. Again, they are pretty similar to me. The characters are tied by their circumstances to the point that they have to hide what they do from society. During concerts, they go by nicknames. Their entire days are stiffling beyond imagination. None of the four characters was made to live like that, and music is their freedom. And on stage, they get more free than anyone in the world. The savage exhilaration that comes with it is the 'orgasm'. And that they may try to agress each other with their sound in this moment doesn't seem all that strange to me. Pair orgasm with domination, and you naturally get a BDSM imagery. Nothing strange in that. Despite the sad lives they live, this manga really made me laugh quite a bit. They truly are excessive in many ways, but i actually enjoyed it. This notion that 'girls wouldn't behave like that' has yet to be proven. But either way, THEY certainly do. Once again, as musicians, under their nicknames, they are free to be ANYTHING they want. They live under chains, in a 'gilded birdcage set for them by adults', and this is what happens when the bird is set free. Now, as whole, i appreciate that the author has so far avoided cheap tear-jerking drama. We get that the characters struggle, and it would have been easy to go the melodrama way, but the author refrained from it (which is a sheer contrast with 'Hibike Euphonium' where there weren't that much ground for drama from the beginning, despite the author and KyoAni forcing it heavily anyway, by any way they could manage). Maybe it lacks a sense of depth as a result. Maybe this could have been more if handled properly. Maybe there was matter to craft a masterpiece by depicting this contrasting existence of a bird stuck for life in a cage, that only get to fly around 2 hours every day. Maybe we could have explored more deeply the ideas of 'purpose', 'determinisms', 'aspiration', 'nature vs society', 'duty', 'social classes', or whatever. And actually, maybe we will. Something is bound to happen from the very start, it can only happen, it should happen, and WHEN it happens (not if), the whole world may crumble for our characters. Will the author explore these themes deeper at this point and shift tone? Will he handle all this as a mere hurlde to overcome like the others...? I don't know. But the potential is there. I haven't talked much about drawings and such, but i don't care that much. It is all serviceable enough, and i found nothing to complain about. All aspects that were notable to me have be tackled above, and so, i will leave it at that. This is a seinen, and this is not about J-Pop. To me, this makes the whole thing noticeably better. Whether it is the case for you will mostly depend on who you are. If you are a fan a idol animes and J-Pop, either you will have a harder time to relate with this, or maybe you will find a way to expand your world somewhat instead. Either way, it can't hurt to give this a try. Granted, you can find a way to get your hands on it in the first place... 8/10.
Reviewer’s Rating: 8
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Jan 27, 2025 Recommended
So... I hadn't rated something 10 out of 10 since around 2018 i think. I hesitated. This anime is not perfect. But some aspects of it set a completely new standard of expectations for me... And those were already pretty high in my book. I had noticed this anime a long time ago, but i generally can't handle the drama genre, as this tends to depress me way too much for my own sake. Still, i could handle this one, in the end (just barely). And it was one hell of a journey i don't regret endeavouring. This will probably be a bit long, but
...
please, bear with me.
Oh, first, i will list the things i felt were lacking in there. That will get it out of the way. 1- First, a rant. Don't set this shit in France if you can't even write a single french word properly. It is irritating (like when even something as simple as "Salon de thé" becomes "Solon dé the"). Hire someone to write the french. And someone to write the placeholder articles in newspapers (random text and headlines that had NOTHING to do with the topic and photos, and oftentimes parts of it had nothing to do with the next one). Being french myself, i can't unread what i read. I notice it in a split second, and this badly breaks the 4th wall. Which is terrible when the rest of the anime gets me on the edge of my seat so much... It is not like you were learning the language and i was trying to help you. This is a finished commercial product, so do it properly or don't do it at all. One or the other, no half-assing. Let's note that "Strike Witches the film" did this properly. You can stop on an image and read the whole articles, and they are the right ones. 2- Character's actions may sometimes be quite hard to follow. This is because, the least one can say, is that this anime is not talkative. I really love that they respect my intelligence (thank you!), but i am not THAT smart. There are oftentimes long, uneasy silences between Mireille and Kirika, and we note that something changed. But we don't know what. In the same way, the beliefs and motivations of one or another may be implied by a situation or a notion, but never really explained. If said notion is equally obscure, things may come somewhat out of the blue. Some may love to be surprised all around, but i like my animes to make sense enough that i understand where things are going and why. This is all the more important that the world here is consistent. It is crucial to be familiar with the various logical threads that articulate characters' thoughts or one may end up missing half the point of the story (and i bet the rather low rating is partly because of that). And this would be a true shame, as the writing itself is stellar here, as i will explain later. Now, it is sometimes difficult to understand what characters think and why they did this or that, but it is still not like we have no clue. It is just that these clues do not come as obvious at all. And sometimes, it may be a bit too cryptic. More on this further below. 3- This anime confused me when it comes to temporality. There is no sense of time passing, no season changes. Which is not something i like. I guessed that the whole 26 episodes happen in the span of a year of so, but i may be wrong. Likewise, the France presented here (oftentimes), is that of the 50's. Names and outfits and cars are outdated. The drab colors and ways often seen seem to pertain to a post WWII setting. But there are cell phones and computers. It seems to me that they used way outdated graphical references to represent the country. And while, here and there, there are surprisingly accurate details, most of it feels like imported from a different reality... And yet again, since it is so obvious to me (being french and all), it becomes distracting (especially, don't wear a mini-skirt when everyone around you lives in the 50's, this is too striking). 4- The lack of blood. Yes, there is no blood whatsoever, except in one important occasion (for storytelling purposes). Below, i will describe how important it is to grasp the weight of killing someone in order to fully grasp the characters' struggles. I know this anime is already pretty dark as is, but adding blood and visible injuries wouldn't have hurt this at all. That would have made the horror of the situation much more relatable for most of us. Now, let's go with the proper review. Once again, i will pass on the purely technical aspects. I am into arts and always were. So i will only tackle the technical matters when it is necessary to back up a point in relation with the form or substance or the link between the two. First, the writing. I was looking for a contrasting anime. "Young girls with guns" was pretty much that. I was always interested in the tension one can find behind the idea of 'corruption of innocence'. I believe one can write very strong stories with such contrasting concepts, and "Noir", as well as "Madoka" perfectly exemplify why i have thought so for much longer than i want to admit here (kuso jiji). Granted, you take the topic seriously and don't try to spoon feed the most shallow possible take on this to the masses... because in this case, it becomes cringe, obviously. And so, the story is strong, the ambience is strong, the characters are strong, the concepts and worldbuilding are strong... But i don't recommend this to kids. This is very clearly an adult series. As i said above, there is a lot of silences in there. Those who mistake this for an action series are those who really didn't get what it was all about. It is a character centric tragedy with some action sprinkled onto it for flavour. The two main characters spend the whole 26 episodes being torn apart by contrasting feelings and aspirations that are so strong that they don't exactly understand it all themselves. But when love cohabits with resentment, a simple exogenous-induced imbalance showing up on top may birth jealousy. And none is clearly shown or said. But these explain the actions or inactions of the characters, as well as their interactions. I suspect that some may think that not much happens most of the time, that the first 17 episodes are empty enough that you should watch them for the action... And that is so very wrong. The whole 26 episodes are fully packed with relevant moments. There is not a single filler scene in the whole running time. While some may like the gunfights, it is important to never forget, from the very start, that again, this is not a kid show. This fighting and killing takes, very logically so, its toll on the characters, and this from the very beginning. One needs to always consider what it means to kill people. What it means to be the one pressing the trigger, and what it entails of responsability and how crushing it is to consider that time can't be reverted and that what has been stolen can't ever be given back. Sins never die. The characters here are painfully aware of all that, and they go on with their life anyway, trying to make some sense of it all and solve the dark mysteries of their past that hold them back, further nurturing the abyss they are engulfed into. Absolute despair is a recurring theme, as you would imagine. And the characters (Kirika most notably) are psychologically tortured to a point where it is insane. Know that THIS here is the core element of the whole series, the thread that links all episodes together and that is the very stake of the ending. In the first place, this is the very reason why this is called "Noir". As the name suggests, "Noir" is about very dark things: corruption, despair, and sins sins sins. Guns fights create more sins and hence, more despair. Which fuels the whole story. If you start this and consider it as a fighting shounen like "One Piece", honestly, don't watch this. That would be so damn disrespectful to this respect-deserving masterpiece that is "Noir". Indeed, at the time of this review, "Noir" is rated 7.28. This is beyond shocking. Because let's face it, the writing is well-nigh perfect. The pacing is perfect for its purpose, as i said, there are no fillers. The delivery is perfect. The storyboard and color use had me drooling at times. The direction had me pausing and rewatching scenes because they were so masterfully made. The music, while not always perfect, is great, and a few of the main themes of the series had me almost crying on still images... Due to the sheer beauty of it all. The beauty that is born when you put the perfect OST onto the perfect scene, composed by the perfect director. Not all scenes are like that, but a lot are. But speaking of the director, let's talk a bit about how the whole thing is made. It seems to take inspiration from a french genre, called "film noir" (possibly a choice in relation with the title, or maybe the opposite, and the title was chosen because of the french cinema genre, hard to tell). A lot of images really remind that kind of asthetics. And overall, a lot of the shots, angles and editing are evocative of the 7th art. Obviously, the director (founder of Bee train) wasn't young and he clearly made something that resembled him rather than providing fan service. What a relief he did. And honesty, this is full of personality and character. Inspiring and immersing. You see the trends of the time showing here and there, and some older trends coming sraight from the 90's, but overall, this is not this bland, crisp trends we see today, where you can't even differentiate styles anymore beyond character designs and color palettes. The use of light is really something, too. Now, the direction doesn't stop at the aesthetics. It is about conveying something properly, more than simply showing stuff like untalented directors tend to do. And here, yet again, "Noir" aces it. I will illustrate what i mean... I will use for reference the shocking (to me) episode 24. Because compared to previous or following episodes, episode 24 is a very seemingly neutral presentation of a change in situation. There are no grand music, no great effects, no creative use of colors to set ambiences, no great drama, in short, this should be a seriously meh episode meant to prepare the next one. But this episode made me so damn uneasy, i took more than a hour to finish it. At each scene, i had to pause, and take my head in my hands and say: "this is perverse". And mind you, i am ready to bet whatever you want that more than 90% of those who watched didn't notice what the director did here. Simply said, each and every scene, while recounting a story pretty normally at first sight, is punctuated by expectations subversions. The whole episode felt heavily dissonant, like nails on a blackboard, as if something were constantly amiss. And this is genius direction because this was exactly what this episode needed: this uneasy feeling that something is amiss, the goosebumps you get when something is not right and shouldn't be but still is. How did the director manage, through little details, to instill this unease while depicting such random, usual scenes that shouldn't have borne much weight? Before giving a few examples of that, it is necessary to remember that it is episode 24. At this point, we have a heavy luggage of investment in the series, we came to expect various things from it, and we adhere to in-world logic and norm. So, while my examples may seem to fall flat for you, remember that it will bear a different weight and meaning once you have watched the 23 prior episodes. So, a few examples: 1) at this point, there is a change in a character outlook. It is a change that the spectator will lament and hope for it to change again soon. It is a very small, but a very dark, ugly, and sad beyond belief one because full of meaning. And then, one character that stumbles upon it suddently makes an enthralled expression and just utter: "Beautiful". 2) At this point, a certain antagonist is absolutely unsufferable, while at the same time, being the nicest character in the whole series... And while we want to see the biatch suffer, and while Kirika seems pissed at her, the next image, they cuddle with each other. 3) Kirika notices that a place smells like blood. Chloé tells her that countless people were killed there, and that... Kirika was there too. We want Kirika to manifest her disgust, her shock, or at least, something like a little sadness. But Kirika simply answers... "This here is my home, right?". Well, you get that kind of dissonnant element in every scene, every 60 seconds or so. Very usual and unoriginal situations that would call for a stereotyped and shallow answer but that end up bringing the exact opposite, in a way you absolutely don't want to see. Seemingly normal conversations that pretend to ignore the past records between the characters and how damn inappropriate they are as a result... And that's the thing. Done again and again, this is what creates this unsettling, stiffling feeling. The director doesn't simply add episode after episode mechanically, trying to sprinkle things that proved efficient with otakus previous season... No, he does the opposite, and i love him for that. And it is this guy who handled the whole thing. This is a real guarantee. The drama is heavy starting from episode 20, but while i sank "Hibike Euphonium 3" recently for its abusive amount of forced drama, nothing in "Noir" is forced. Because the characters are who they are from the start, drama naturally unfolds. Evolution and change may happen, for better and for worse. No excessive melo is made out of nothing like in Hibike 3. This is the opposite here: little drama is made out of a lot... To the point that you can't not realise how abnormal the characters are. Yes, they are killers, pro killers. And oftentimes, they look like it (and other times, they look like the traumatised young women they are). And at times, i felt estranged with Kirika: "How the heck can you simply go on with that? Killing is seriously your job, right?" i would think. They simply have that tragic an existence. And the director shows it to you in an actually subtle way, using various means to transmit their unease and suffering that is not about screams, tears or anything. Messed up environements, sound thrills in the background, angles shots that would normally have asked for nomal ones, palette, or the choice of making the shot at night to project deeper shadows, etc. Because, despite what you may believe, characters cry very little in there. Actually, Kirika shows little of anything, and Mireille is cold as ice. So, they may have little exterior reaction to horrible things they go through. But these things are well there, and you can't unsee them. I bet you will cry several times more than them. And again, the masterfull OST plays a major role in there. When the drama works so well that you don't even need to emphasise it for it to take the spetactor by the guts, you can tell that it is masterfully done. Again, the complete opposite of cringe "Hibike 3". The core musical themes are used at all the right moments. They don't try to be original about it. If a scene deserves an emotional track, it will be used, period. It is no joke, this OST (sounds 'like' italian and latin, mostly, which is refreshing and SO much better than everything in yet more loosy english) is a massive atomic bomb, because on top of being exceptional, it is used properly on an anime with actually deep, ambitious and excellent writing. Producers wouldn't risk producing 26 episodes on such an original anime that is not even tailored for the masses, these days. Still, the mix of these elements is what makes already fantastic scenes so crushingly impactful. If you want a taste of the OST, go to YT. Write "Noir anime OST". And try two of the main themes... "Canta per me" (sing for me) and "Salva nos" (save us). Imagine that with such a series. Let's just say that it is a perfect example of how an OST can do or undo a work. In this case, this OST brings the whole thing to completely new heights. I love the choirs, i love the cello, but what i love even more is that those are properly recorded musical performances, as opposed to most of the shit we are served these days. This has already become one of my favorite OST of all times, and i can even listen to it outside the anime (which i am doing right now, a cello piece called "Sorrow"). Obviously, them using an accordéon is definitely a damn plus, too (since it is typically french, and most of the action is set in France). It is worth noting, too, that Bee Train and its founder (the director of Noir) are dedictated to the arts. More and more these days, i lament the fact that money rules everything. And the Arts are dying on the altar of corporate greed. Arts is culture and culture is civilisation. A place where culture has died is a place where civilisation is in a fast decline. I have said that countless times already, but this is all a plague that comes from the over-reliance on money in the USA and Hollywood and that contaminates the planet as a whole with cultural rot, since it stiffles the competition of smaller projects dedicated to a vision more than bottom lines. Bee Train, now basically dead due to the retirement of its founder (again, the director of "Noir"), was one of the last bastions in Japan that put 'Arts' well above bottom lines. It is not about taking a popular IP and milking it, like TOEI. It is not about making low risk LN adaptations based solely on the themes and trends the source material exploits, with hopes of financial success, like most studios do these days with "isekai" and such. It is not about finding a successful concept and banking on original works based on those with extremely stiff and pre-formated direction, like ACTAS does (notably with the decent "GuP"). It is not about selling crisp animation with no proper substance, like KyoAni seems to do more and more. "Noir" simply is the result of a vision. As often in japanese works, characters' emotions are what spur the story forward, and hence, emotions become the basis for storytelling. How do we make the viewer understand that? Many japanese works excell at that, in their own way. "Skip Beat" manga is a masterful exemple of that in my opinion, although in a completely different genre. "Noir" takes a more cinematographic approach, all the while making good use of the animation support. As i said, it is not talkative. So what does the director do? He uses ambiences to tell of emotions, and hence, ambiences become storytelling. There is a thread in the "Noir" forum where someone explained how he felt the music was overbearing and prevented him from focusing on what happened on screen. I believe this is the result of bad habits created by all those stereotyped works with barely any artistic value that proliferate these days like a flu, and create new, ever lower standards for what many people come to call 'quality' (generally, it is about easy accessibility and production values more than anything else, which is plain depressing). You know, this obnoxious "don't tell, show" thing that has corrupted every artisitic expression possible. No, it should be more about "convey, no matter how, just make sure it strikes a chord". Music may be a way to convey things. Arts, colors, camera angles, and even the state of their environement (clean, chaotic, for example) can talk of a character's mindset. Just remember this when you wonder why the heck did Mireille not clean a bit her appartement after it was stormed by assassins and put into a chaos. This is because the resulting chaos in which Mireille then evolves is a perfect translation for her inner turmoil and seething contradiction. Not once will Mireille state anything in this regard, not a word. Not once will she utter some important words. Behind her composed mask, she is torn apart by conflicting feelings, and with no words or expressions, we have to rely on ambiences to understand what this is all about. This is how "Noir" is done. And it is not as accessible as your last shallow hit on MAL that so many people hail as a masterpiece when it is really the result of a purely financial expertise on how to profit from the crowds, with no dedication whatsoever to Arts. This trend doesn't make the future of japanese animation appear all that bright. I wished i still lived in a world where people would watch "Noir" and understand its values. But here we are. "Noir" is rated 7.28 and "One Piece" is at a stunning and unbelievable 8.73, despite how atrocious it became over the years............. Makes me want to cry for this anime media i used to love so much. Story 9: If only it was a bit easier to understand the characters actions at times, i may have given it a 10. Not because it is perfect. But because this is the perfect story to tell with this anime. Or rather, because this anime presents this story in a perfect way. Characters 9: Same reason as above. Very strong and believable characters, despite the hard to believe premise. Sometimes a bit hard to understand, partly due to the lack of exposition, but they totally fit their environement. Still, for the sake of the setting, they seem to have an otherworldy capability to endure suffering. But i won't remove points for that, since if they hadn't, this would have devolved into a tear-jerking melodrama, which is not something i can handle. And what is more, that would have undermined the whole 'assassin for hire' concept, since you can't exactly have this kind of character cry their balls out all the time. At the same time, this doesn't mean that the characters don't suffer a lot. It is simply that they don't show it much. Worth noting is that "Death Note" is my archnemesis of an anime. The one i hated the most out of all those i watched. I simply couldn't relate with Kira and couldn't stand neither him as the MC, nor the story that focuses on him getting away all the time. This was not the case here. This is not another "Death Note". Sound 10: I already tackled the OST. OP and ED are good. The sound department is fantastic. The sound of the guns being fired have proper weight, which was so important to convey how heavy the responsability it is to wield a gun and aim it at someone else. These are guns, not toys. And they don't feel like toys here. Even the rest of the sound effects is really good. There is not a single bad thing there. Visuals 7: Quite frankly, i prefer the animation of this era compared to the recent one. There is more 'movement' in there, even if it is a bit less crisp and detailed at times. Whoever has studied arts like i did will understand what i mean by 'movement' in a still image. It is much more dynamic. And overall, it is easy to see that in 2000, this was a high budget anime. A lot of animations (sometimes uselessly detailed ones), and hand painted backgrounds that were detailed by the time's standards. All are not great, but a lot are. Still, this is hand painted, so, this is not as crisp as a 3D one we see these days. But yet again, i am unsure the old ones are so much worse considering how bland they feel nowadays (again, from an artistic point of view). Some drawings are shaky at times, obviously, which is sort of a trademark of the era. But overall it is nice and cohesive. Let's remind here that the fights are well animated, but this is no "Shingeki no Kyojin", the fighting is in support of the story, not the other way around. And so, i feel like the action scenes are generally of great quality. I truly enjoyed them all. Enjoyement 9: I can't find the motivation to watch animes much anymore. And so, i can't even say how happy i am that i found "Noir" to hook me for the first time in a long while. It was a real journey. Overall 10: Not only did i highly enjoy this, but i can already tell that "Noir" will join the ranks of the animes that are etched in my very soul after 2 decades of watching them: "Gunslinger Girls", "Juuni Kokuki", "Haibane Renmei", or "Cross Ange" are amongst those, too. Obviously, i am on the older side now, so you won't find run-of-the-mill action shounen anywhere here. It is probably an important factor to consider in order for you to determine whether you will like this the way i did, or not. Don't expect to see a shounen action, this is not what it is (for the best). Expect a mature story and a mature storytelling with a lot of pauses and silences that let the unsaid settle in (never boring to me), even if the characters are young. Don't expect a pure action anime, expect instead a drama with action and what i consider to be a satisfying end (for once). I can only see two categories of people who may dislike that: as i said above, those who are still at school, since they are probably not the target for that. And add to that those who have a very high level of emotional IQ (like me). The later may have a hard time, taking the characters' suffering as theirs (like i unwillingly tend to do, like a damn sponge), but if i could watch it without sinking into despair, most probably can ^^' . More than anything, enjoy what you can while you can.
Reviewer’s Rating: 10
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Jan 1, 2025
Hibike! Euphonium 3
(Anime)
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Not Recommended Preliminary
(11/13 eps)
Yeah, i dropped a KyoAni... I completely lost any kind of interest for this at the end of episode 11. Although i know how it ends, since i read summaries. Just to make sure i was right to drop it. And yes, i had guessed everything (which isn't too hard), so good for me. I spared myself some torture.
We already know what Hibike is like. This is season 3. So, i will cut to the chase and try to explain what i disliked in there. Let's note that i rated Season 1 and 2 10 out 10. Only "Juuni Kokkuki" and "Madoka" did that well ... in my animelist. I loved Hibike's first year. But after that, to me, it spirals down to hell, and i actually genuinely regret spoiling my good memories of "Hibike" with whatever followed. So, let's go... Kumiko starts off as an interesting character. Dispassionnate, frank to a fault, she didn't care to smile to people when she didn't feel like it, and had a non typical take on many things. A good way to illustrate this, is the fantastic dialogue she has with Reina the first time they climb Daikichiyama in Season 1. When she asks Reina if her feets hurt (they bleed), Reina answers: "yeah, but i don't hate pain". To which Kumiko replies: "Nanka eroi" (sounds kind of sexy). Say, how many anime girls did you see have that kind of dialogue in animeland, especially in an anime that is not an ecchi, nor an edgy comedy ? Same episode of Season 1, Reina explains to her that she dreads normalcy, and wants to become special, and that Kumiko ought to understand that much. Reina states that she wants to become special through playing trumpet. Kumiko lunges at her, asking if it is really possible to do so, clearly interested. And by the way, during seasons 2, she states herself that she wants to become special, too. Obviously, nobody really knows what they mean by that. I mean, you can top the charts and be a walking stereotype at the same time. So, after this necessary reminder of the characters' context, here is the list of my gripes: * Here comes my top gripe with this season. Gradually, Kumiko loses what made her special. She stops speaking her mind. She stops dreaming. She stops having ambitions. This is not a writing mistake. The author made her change to fit more the 'norm'. In "Chikai no Finale", Kanade asked her: "and what are you going to do when you get good at playing euphonium ?". "I don't know, i didn't think that far yet" she answered. Gosh, i should have seen the red flag. I don't want to spoil you too much, but by the end, i feel like Kumiko became a boring mess. I can't relate with her choices at all. And other character's reactions seriously annoy me too, like Reina. I couldn't believe what i heard: All this for that? I am sure some of you will feel like this is a great way to finish off Ku... eurgh... no, that's not the right expression in english i guess... a great way to [u]further develop[/u] Kumiko as a character. If you do, i simply am the perfect opposite of you. I consider it to be the second most boring option in the universe. Actually, i wouldn't have had much of a problem with it if they didn't hardcore tease what i considered to be the best option. But i had seen it coming: "Ok, i can see that they do that because they want to do the opposite for the sake of a cringe surprise that is not surprising in the slightest". Unfortunately, i was right. * Speaking of unsurprising surprises... Mayu... All it took to me to guess everything was 3 things. 1) You could see Taki and Matsumoto speaking to someone in a box when Kumiko came to bring back the key. It made sense that it was a student. And they talked to this person until after the bell had rang. 2) There was an empty seat in Kumiko's classroom. And 3) Reina and Kumiko heard someone "talented" playing euphonium near the station when going back home. With this, it became easy to guess everything regarding Mayu and her role in the story up to the end, as soon as by the middle of episode 1... And i remember clearly thinking... "No... You are not going to do that, right? That would be SO DAMN ANNOYING". Mild spoiler: they did. Worst part is: when you know what is coming, it is even more annoying when you are proved right. Mayu, as a character, only exists to bring frustration. And because KyoAni rewrote the end, the frustration is never released. That's an awful thing to do in my opinion. * My 2nd gripe here is that Reina turned into a psychopath. That was so damn annoying and clearly overdone. No human behaves like this. Unless they are one of my ex and straight out of a psychiatric hospital. Actually, this brings me to another of my major gripes with this 3rd season... * The drama. It is everywhere. Reina is a device to introduce shitloads of it. This season screams: "I am a drama and i want you to know it". Again, it appears that KyoAni even rewrote parts of the original story (part of the end) so that it would be even more dramatic and overdone and senseless. And i mean... that's... who wanted that? They really made Reina into a sociopath for the sake of emphasing more drama. It is detrimental to the character. You don't use established characters to add more drama. It is because the characters ar who they are that drama may naturally follow. This is the other way around. They got it backwards. And it is glaring. * And by the way. While in the first two seasons, you had a pretty good balance between drama, slice of life and music, here, the result resembles more an expertly crafted mix between drama, drama and drama. What, where is the music you ask? Simple: they needed room for more drama. So, there is no music. SunFes is skipped. Kyoto Premlims are skipped. And even Kansai is skipped. The school Festival? The gigs they are meant to play and that you saw during their first year? This time around, they ae not even mentionned. No. music. whatsoever. I watched that for the music and character driven story, first and foremost. That they got rid of it for the sake of more exaggerated, noisy and hollow drama is beyond me. * Somewhat related to the first point, here is the story-related part of it. Part of the story is something i genuinely abhor. The part where Kumiko struggles to find what she wants to do after high school becomes rapidly overwhelming. I mean, many of us probably struggled to know what we would do after high school. That wasn't the most entertaining part of our lives, i am sure. In my case, these were very bad memories. I came to see an anime about music. Not a cumulated 1+ hour long drama about the most petty, uninteresting and unfulfilling struggles life has to offer. Because this is THE overarching story of this season 3. Even more than the nationals. I watched it. I didn't want to, but i did. Because i hoped for this anime to bring something only an anime can provide. Something that life does not offer that often. I knew this series was about 'real life'. But i wished they wouldn't be 'that' real to the end. I should have expected it. This is a common trend when it comes to japanese animation MCs. Yes. After this last dialogue at the end of episode 11, all the drama fell flat. And it was then that i realised that any emotional tie i had to this series had just been cut clean. In a split second, i lost all investment i still had towards these series. That's miraculous. At this point, i totally stopped caring about whether she would get her solo or not. I stopped giving a damn whether they would get gold or not, too, as it suddenly felt totally meaningless to know. I couldn't even be bothered to care what would happen of their various relationships. To conclude, if you are there for the music, to see how Kumiko's destiny will turn out, a developped romance (any), if you have some ships that you want to see sailing towards the setting sun, if you were there for the music (again), to see how Kumiko achieved becoming special through playing euphonium, or if you are expecting to see no annoying character-slash-plot devices in a KyoAni anime... turn away fool ! You will only hurt yourself. If, on the other hand, you crave for character drama, to see them struggle without having a clue what to do. If you like when a detail can snowball into an atomic apocalypse for the sake of drama. In short, if you watch animes "for the feels", you will love that. This was made for you specifically. A shame i was never part of this club.
Reviewer’s Rating: 4
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Jun 17, 2024
Joou no Hana
(Manga)
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Mixed Feelings
So, in a nutshell, it is a pretty good manga. And i mostly hated it. As of the moment i write this, there is no "drama" tag for this. How come? The core of it is melodrama. A pure melo. So, don't go into it thinking it is a shojo adventure romance like... well "Akagami no Shirayuki-hime" for example. Although the comparison is weird and it has nothing to with it, i felt that it was closer to... "the human centipede"... maybe you will understand why if you read the whole review.
And gosh, i am fairly intimidated before writting this review. I am not sure ... if i will manage to do it properly. How can i hate a manga that i felt was good, despite the fact that i could not identify any clear major objective flaws? First of all, as you may guess, your appreciation of this will depend on what you look for. I have no doubts whatsoever that some amongst you will fall hard in love with this manga. I am not one of you though. This review is meant to present the work in a way that will hopefully help you understand its nature. And i will try to limit the spoilers. It's not going to be a sinecure... So, i guess that i will start with the usual review of stuff, and afterwards, list the reasons why i hated it. Let's start with the most important: the writing. The setting is a mere excuse to tell a story. There are 4 countries surrounded by more countries. But beyond knowing that there is more than these 4 countries, we know hardly anything about the world beyond. The countries have super random and usual names like "Kou", "Ah", Sou" and "Do". Most of the story revolves around the royal families, almost all refered to by their title rather than a name (Queen Kou, Emperor Do, Prince Sou, Princess Ah, etc). What is more, it is your usual, run of the mill chinese-like setting with hardly anything that makes it unic or different. It is easy to see that the author didn't even try. You absolutely can't make it more generic than that. And no, this is not a reason why i hated it. Because why not? The story is very much character centric. So the setting being bland allows for a strong focus on the struggles of the characters themselves. What is more, bland doesn't mean shallow. And it being bland and strongly inspired from China makes it relatable to a japanese reader, who will feel at home, and understand instinctively all the little codes we may not know in the west (yes the author won't explain everything, and sometimes, some details may be confusing to us westerners. But this is a usual problem with such settings). Using such a bland setting is, too, a massive advantage for telling such a story, because your reader is at home and you don't need massive lore dumps on top of the rest. And so, while the setting is generic, it works well enough simply because using reality as a basis is the way to write a functional fantasy without becoming obnoxioulsy wordy or pretentious. So, so far, so good. Simple is best. Especially since the story itself is NOT simple. It is pretty much impossible to predict what will happen. This is why i had to reach the end to be fully certain that i hated it. The first 4 chapters are 100 pages long. Most of the rest are around 65. Yes, that means that if you count on the basis of a usual monthly publication, this manga would span 90+ chapters. So, it is not short. It is worth noting that the beginning is a different beast compared to the rest. The first 9 chapters or so feel very much like a shoujo fantasy full of romance subtext and omnipresent fan-service. The situations felt stereotyped and Hakusei (one of the 2 MCs) annoyed me immediately. What is more, as is often the case, you could tell that the author was still testing waters, as her storyboards feel shaky, and characters display emotions that simply feel wrong. Like a big smile for something sad when it should have been a wry smile or something. So, frankly, the only reason i didn't drop it early on is because i was under the impression that there was more to it... And then, after 4 or 5 volumes... ... the hidden beast appears. Mark my words. This is a MELODRAMA in a dramaturgic sense. If you ever read BS like "Hamlet" or any work by Racine, you will get what i mean.The whole work is built around the dramatisation of situations and characters. They suffer, and then they suffer more, they are fated to suffer, and you are told that suffering is what they need, and so, suffering is their life. And mind you, the author does it well. I could tell that she was trying to stress her readers out constently, but she does it decently well. There will be battles, but not that many. It is more the MC who is a victim and fights her victim status to become a winner. More or less. When i warn about the melodrama, i mean that despite the fact that this is shoujo, it is heavy. And despite the fact that the author is a woman, prepare for (almost)rape scenes. While she never goes all out with (almost)rape scenes, and while i fully endorse her respect for her setting (women were objects to be owned like cattle or horses back in the day), it is was still a hard read for me. Especially the way no one ever thinks badly of these guys. Yes, this makes sense with the setting, but be warned that the author is not timid. Despite being a shoujo, and despite the fact that there are plenty of shoujo filters and shoujo monologues, the content of these monologues oftentimes are... not quite shoujo-like. Actually, beyond the filters and romance fan-service, this sh*t is not a shoujo at all. Overall, the dialogues are good. Frankly, the dialogues tell a lot about the characters, and how they are double-faced. Or triple-faced... It is witty, serve the characters well, and make for interesting dynamics during interactions. Another good thing about the story and the writing is that we explore quite a bit of the 4 Kingdoms. It is not a "country A against country B" classic setting. And when it comes to writing... i have to say a word about the characters. Again, it's all good. The characters make sense. And despite the author being a woman, she seems to understand men like me pretty well. Some situations reminded me of how i felt with towards some of my ex-gfs. She depicted accurately the differences between men and women when it comes to psychology and understanding of relationships. Reading this reminded me of some cringe i had to go through in real life, and even of some extremely painful feelings i had back in the day. This made me feel terrible. Maybe because it is a shoujo, she doesn't go all the way with this either. I would have been more extreme than the guy, who quite patiently goes through much more than i could. The emperors are depicted as inhuman beings. There is this idea that an emperor is not human. Nothing new right? Except the way it is done there... is quite new. Emperor are refered as dragons. Since they are not humans, you may notice that their faces are hardly ever fully drawned. They become a sort of mask where only the mouth is truly visible and the rest is obscured by the shadow of their hat. This is very interesting honestly. What better way to depict how they are not human and don't have human emotions than obscuring their traits. Traits define identiy. Both trough emotions and looks. Here, they become "vessels". For something inhuman called a "King". This adds to this unease that surrounds emperors in this manga. But overall, it is all cleverly done. This is what i would expect from a japanese mangaka. I so love the intelligence with which they do things. Ok, the rest now... The least important, so it will be fast. Drawings are good enough. The best part is that while the setting is simple, the backgrounds are generally detailed. Which conforts what i said earlier: plain doesn't mean shallow. The author is not up there when drawing battles though. Probably one would need many assistants to do it correctly. It is enough to have a feel for it, but you won't find an "Arlsan Senki" level of detail of the battles or battlefields. The strategies are... overall decent. It is good enough to be believable most of the time, and so, i guess it is ok. My biggest problem is with the very first battle. This one feels awkward. But the later ones fare better. So, now, i did praise it quite a bit. So why did i hate it? Ok, here i go, with a list: 1) Early on we are made to hate a guy. And oh is he worth hating. He is the worst, clearly. You will hate him, too. But then... the story takes a turn that makes it seem like this guy was right all along, that wathever he did was right, and that he was a great guy because he had this determination of sorts... and it becomes clear that our MC should aim to be the same kind of person. Because this is the natural way of things for royalty. I mean, i love settings that sort of corrupt characters, from a naïve state of mind to a battle-hardened one. But here, this is something else. The overall mood of the setting promotes a kind of corruption that aims to reach a lower state of existence. Does it make sense? Sometimes, in medias, you have naïve characters that learn to make hard decisions. They grow. They gain charisma. They lose their naïvety, may discover a ruthless side to them, or even break down, but they don't necessarily go against nature. But here, society pressures for the idea that oppressing the weak is morally good if you have responsabilities, and anyone reaching for the throne will have to learn how to do it properly. Early on, we learn that even if you have a good heart, you may need to be capable of killing your brother without showing emotion. And such a thing is never condemned, never berated, never called evil, and as far as i coud tell, the sole outlook on this i saw was in the line of: "this guy did good and has what it takes". I mean, most characters commit betrayals, atrocities or slaughters to some degree and there is not a single one that will have a problem with it. Unless it endangers the kingdom, but even then... that's not too big a deal. If you are born royalty, you can only be a "monster" (not in the sense horrible person, but in the sense "inhuman"). This is what being a dragon is like. And because this is what being a dragon is all about, even our rebellious MC with have to face this reality one way or another and choose her path in life, since we all know that she was born a princess. And so, the problem is that despite being the MC that we should sympathize with, and that spurs the story forward, she became estranged to me at some point. Because she was born a princess, and because we are told repeatedly what royalty is meant to be like. Your mind will associate the two. She stopped feeling human at all to me, and hence, relatable. There was something disgusting about her that made me want to keep my distances with her, and this is partly tied to the romance aspect i will speak of next. This mix of situations made that once i had lost my involvment with her, it never came back, no matter in which direction she evolved later on. And i ended up looking at her without sympathy as a result, as if she was a beast of sorts, one that should be put down, and i could never accept to redeem her, no matter how she may have contradicted this first impression afterwards. The author does that deliberately, and she is good at it. But i couldn't stand it and couldn't dive into her story anymore. I believe it is very dangerous to deshumanize your characters. Because we relate to stories' protagonists through our shared humanity. It is because this character i talked about at the beginning of point 1) has no humanity that we grow to hate it in chapter 1. In this same chapter 1, everything i talk about here is already hinted pretty clearly and creates the canvas for the story. But if you write a story about a horse, it will be anthropomorphized and/or humanized ("Uma Musume"? or Dreamworks' "Spirit"?). Humanity is what ties us readers to stories. And once you have deshumanized your protagonist or the expectations your readers will have of it, no matter if the character ends up being humane again, you can't really go back, it is not the same anymore. "Wall-E" is a robot but we can relate to it because it has human reactions. "Madoka" is human in a setting that is not. If she had killed Sayaka at some point, no matter how many people she protects afterwards, she would feel like a corrupted machine to me. Do you get what i mean? The way this setting and story is, pretty much from the start, all about "kings are not humans but dragons"... was a dangerous bet from the start, on the author's part. 2) The romance. The romance is everywhere. I mean everywhere. This wouldn't be a problem normally, since it doesn't impair the storytelling too much, AND it is AGAIN, well done... But... there is a but. This is the classical story of impossible romance due to social status. This makes sense. I don't hate it. But when the authors starts, twice every chapter, to use this to generate more melodrama... however well done it may be, it started to cultivate an array of negativity in me. Again, it is character centric. And psychological. And if you are like me and have no control over your sense of empathy... the suffering of the characters will end up becoming truly yours... So we are repeatedly told in details about how they suffer, what their dilemmas are, why this appears to be hopeless, and we are shown the logic that they follow that, while making sense, at long last makes you want they would just spare you the crap. I can only empathize and relate so much to a character undermining itself and making its own life a pure hell, before feeling like i sink into my own socks. Ok, i understand, i understand i said. I get it. Really i do. Something else to tell me? I get this situation, no need to go into a tear jerking monologue about it 7 or 35 times... I do get it. This insistance on making us feel the miserable despair characters go through end up making these crap feelings stick with you like crap to your shoes... That follows you everywhere. Can you imagine what characters madly in love with one another may do for love's sake in such a setting? Can you? Overall, it was well done, again. But this ended up emphasizing the melodrama around the impossible love with constant "Romeo and Juliet" undertones (i mean, undertones that let you feel like it will end like Romeo and Juliet. I doesn't, by the way, but still. I can't simply be happy feeling like crap all the time). You could do that in a more subtle way where the drama and psychology are boiling in the background. "Song of the long March" is more subtle in every aspect of the storytelling and characters psychology. You feel the situation, even when not told explicitely, and it is not hamfisted. But here, it is very "here in your face". "Get the feels, because i want you too damnit". And, tied to this 2nd point... 3) Yes. The melodrama. The melodrama as a whole is something else. This pervades every pore of this work. The author makes sure from the start that you understand that *any* character may die at *any* moment. This is the exact opposite of "One Piece" where there are no stakes. Here... well. "Everyone will die someday" is stated countless times in the story. And trust me, there is an implicit footnote that is never stated clearly that say "yes, and rather sooner than later". Yes, the author used any situation, any character, any time, and any idea to include more drama. It is not exactly... forced melodrama, since it fits in the story and with the setting, but nevertheless, she never misses an occasion to make you understand that life sucks. She adds small story elements for the sole purpose of making her story more stressful for the reader, and/or dramatic and desperate. "Ah, this is a red flag". "Ah maybe not...". "Ah, it wil probably turn out this way anyway...". I ended up reading this story feeling as if i was spending my time looking anxiously at a mailbox, expecting to receive at any moment a notice of the death of someone close to me. Did i say that i ended up feeling uneasy while reading and stopped wanting to resume reading? Why would i want to read that in my spare time? She deliberately manipulates things to create misunderstandings in her story. Not between characters. But misunderstandings from the readers. She misguides us deliberately. Part is for the sake of introducing more twists, and part is for the sake of drama and melodrama. Honestly, there is one character out there that never ends dying. You will see everything about his death over the span of several hundred pages, the sorrow that accompanies it, the before, the after, how he agonized for so damn long, how he is happy about it, how everyone feels like crap and really should, how people kill themselves as a result because they don't have any purpose for living anymore, or even how killing oneself is actualy a national sport in this, how life is torture, but still, in the end "the world is beautiful anyway"... and so on and so forth... Yes, i will probably regret reading this. I just skimmed really fast through the last 2 chapters without really reading and the one thing i can tell is: good thing i did. I mean, all the metaphysical trip is not something i can take seriously in this particular story. Stop with the tear-jerking stuff to the bitter end. There is no beyond the beyond the reason or purpose of things and people. To me, it was not an emotional bittersweet story. It was only bitter, depressing, and never sweet, and this awful feeling still lingers in my chest. I am going to put just below a criminal spoiler somewhat hidden in random text. If you want to read this manga, i warn you to never read this spoiler. But if you won't... fell free... [SPOILER]blah blah blah je cause et dépose et blah et blah un peu de spam pour aider à cacher le méchant spoil de chez mémé if you want to read a story where basically the whole damn cast dies by the end then you are welcome oui comme je le disais c'est du melodrama et fouette la mouffette.[/SPOILER] 4) The convolution. Yet again, i never felt that it didn't make sense. But the author very clearly goes by the rule: "surprise your readers at every turn so that they will be left on the edge of their seats for more". I honestly don't know how she could include such an absurd number of twists to her story without making it look ridiculous. Because it works. But... It is f*cking exhausting... You will be thrown for a loop every 10 minutes or so. Scenes are always cut when you actually need to know what happens next, to the point that this time, i actually cringed because of it, and it is a roller-coaster. But worse in my case, it aggravates dangerously the fact that i was feeling more and more like crap while reading... Because anytime something turned out decently, i came to naturally expect another twist to mess it up again for the worse. I feel no joy in contemplating human misery or suffering, i have gone through enough of it myself for several lives, so give me something to hope for... So many twists prevented me from feeling good when i should have, and made sure i felt doubly bad when i was meant to feel bad... And yes, so many twists makes following the story an exhausting endeavor. I felt sort of out of breath, feeling pushed all around the story andl all over the place without my consent, all the time. This doesn't feel like a shoujo at all. Twists constantly cut story threads abruptely and definitely without giving you any time to digest what happened and relax, to suddenly start new ones with a sense of urgency, and then just cliffhanger the whole situation to start telling about something else entirely... This is exhausting, yes. You will probably end up skimming pages to reach a satisfying point before going back to read about the "something else". While the author manages to stuck you to her work, i felt like she had me bound on a seat and forced me to keep my eyes open to go along with her sh*t. This is mechanically very good to create in the reader the "need" to see what follows. But maybe my OCD turned that into more of a torture than it needed to be... Honestly, are there people out there who seriously feel that it is an endearing emotional trip with a touching romance? Who? Denounce yourself. THe story is good, but i never read or saw such heavy drama. Actually, i tend to avoid this genre... but there was no "drama" tag for this. And so... i expected something different. Make sure you understand what kind of story it is before starting. Don't think it is a "somewhat dramatic but endearing adventure with romance". It is a "filthy and bloody melodrama centered around the concepts of obligation and despair, with a mortality rate definitely higher than in Games of Thrones (or what i heard about it, since i didn't watch it)". In my case, i feel like i have gone through a seriously masochistic phase that i will have to pay the price for down the line. As several days later, images and things from this manga still flash through my mind despite myself, and awake this terrible feeling i am desperate to get rid of. Overall, this author mostly masters her subject. She is clearly talented. Aside from the first few chapters that feel shaky, she mastered her craft and skillfully managed to reach all the goals i suspect she had with this story. But... it won't be for everyone. At least, it wasn't for me. Is it really a shoujo?
Reviewer’s Rating: 6
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May 15, 2024
Juuni Kokuki
(Manga)
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(81/? chp)
I won't repeat what i said in my anime review. I compared "Juuni Kokuki" to "The Lord of the Rings". This comparison stands.
One review here calls "Juuni Kokuki" a "disordered mess". I am puzzled. The title is "Juuni Kokuki". Why is it that one ends up surprised that the author talks about the Twelve Kingdoms, and not just one of them? Tolkienn did the same with the "Middle Earth". He wrote "Bilbo the Hobbit", "The Lord of the Rings", "Tales of the 1st and 2nd Age", and a compendium of mythological stories made into "The Silmarillon" by his nephew (i think). This is what a ... litterary fantasy cycle is meant to look like. Juuni Kokuki works the same way as Tolkienn's works and many other fantasy cycles. Millenia of History, countless characters, and story threads in different eras and times. But each story thread could be adapted in a 30 to 100 episodes anime. So, it is not like stories are truncated or "messy". This is what you would expect of an actual world: it is not about only one character. How many stories are worth telling in regards to even our own world? What of Socrates and how he was executed? What of Darius, the persian king, and his son Xerxès? Of Alexander of Macedonia? Hatchepsout? What of Mulan, or the 1st chinese emperor, what of Joan of Arc, Guillaume the Conqueror, Gengis Khan or Harald? What of the Epic of Gilgamesh written 4000 years ago and the city of Uruk he is meant to have ruled? This is what creating a world from scratch is like. If Ono Fuyumi were to write more, she would probably write more different stories. Because in 2019, she published 4 more volumes that conclude the story of Taïki and Taï. There is no loose ends per say anymore. I have been feeling conflicted for a very long time now. "Juuni Kokuki" is just so good that i could never have enough of Youko's story. The one i discovered through the anime, the main story of the litterary cycle. But is there really no conclusion? I believe there is a conclusion. She reached the place where she was meant to be. I crave more, but at the same time, my imagination have been working so hard these past 12 years, that i would probably be disappointed by whatever the author may have in mind for a possible sequel, unless she makes her destiny grand. Writing what follows would possibly hurt the story as a whole. The author told us a story, and the epilogue is actually up to us. This is frustrating because i crave for more and always will and can probably never be satiated, but it is probably for the best. I wish i could have the answer to this one question Rakushun asks Youko in En. This one question that is about the future. But again, answering it would probably defeat the purpose of even writing this story. When thinking of "Juuni Kokuki", i always have an erhu play in my head. This is a millenia old chinese instrument for those who don't know (look it up yourself). I still see myself walking around this place with this erhu music floating in the air. There is a sense of peace to this. A sense of a harsh, simpler, but fulfilling life. I have travelled so much in my imagination thanks to these novels that any actual travel in this world feels less appealing. There is nothing that is "in ya face" in Juuni Kokuki. This is merely a believable world not unlike our own (China), with its imperfections and inherent charm. And destinies that cross one another's path in what is seeemingly en endless cycle. But some threads are meant to last more than others, and this is what makes them remarkable and remembered fondly by the inhabitants of the kingdoms. And what Juuni Kokuki offers is a glimpse at some of those destinies in various times and places. But quite frankly, if you feel like it, you can simply read the books that are about Youko. There is probably 6 of them. Her story is intertwined with others, too, and maybe reading the Taiki story thread too would be satisfying. You don't need to read everything. I will possibly never read everything. But whether you read these stories or make new ones in your mind, the Twelve Kingdoms are vast and long lasting. You can never be certain what kind of stories may unfold in their legends. And neither the "youma" nor the gods under Tentei will ever show you their world, or tell you of their nature or their truth. And very few are the lucky ones invited to see this world above the Unkai, the "sea of clouds", where gods are rumoured to govern the world from. You will have to walk this path feeling like a mortal to whom some secrets will never be revealed. But we live with it, as they do. Or... you may dive in the retold stories of those in the know. And you will then need a fertile imagination to see and feel what they did. But if you do, there is no telling how much of yourself will remain stuck in the Kingdoms forever, as a kaikyaku trapped for life by a one way shôku. It is about a world made up of Twelve Kingdoms. With its heroes, villains, myths, culture, values, and time flow. You won't see dragons, waifus, orcs, submissive elves masochists, crass humour, otaku fantaisies, japanese exports everywhere in fantasy land, or anything like that. In many ways, Juuni Kokuki never had this "anime vibe". It always had this "fantasy cycle" vibe instead. Because this is what it is.
Reviewer’s Rating: 10
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Jun 11, 2023
Girls & Panzer Movie
(Anime)
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Not Recommended
Ok. I rated the series 9/10. But this film is bad. Plain and simple. Why you ask? I will try to illustrate why... and i will probably reference what they did with the original series as well as usual japanese tropes and well-known cultural aspects. Because this was done by japanese after all, it is hard to take it out of context for me.
I disabled the spoiler warning because i don't consider what i wrote here to be a problem when it comes to this. But here is a disclaimer anyway. This film is not about the plot, it is about tank battles, brought about ... by a lame excuse of a plot. The synopsis already states how it starts, and we already know how it will end. So, the synopsis will be your biggest spoiler, in my opinion. I will mostly discuss the characters that spur the bland plot forward, and tank battles and their quirks. If you consider these to be spoilers, then read another review. If you need some mild spoilers to determine if you are likely to like or hate this, then read all you want. Plot: 3 As i said above, there is hardly any plot to spoil. The guy who promised to the council president that Ooarai will not be dissolved if it wins the nationals never had any intention to follow through with his promise, and so, we start from scratch all over again. We will be introduced to the Shimada iemoto and her daughter, Arisu. There will be less plot and less interesting writing. Everything else will be about 'more of it'. The battle will involve more tanks, be more difficult, against an older team, that achieved more. There will be more explosions, more stupid manoeuvers, cannons will become hand guns that can fire much more often, tracks will be much more solid, tanks will become Citroen rallye cars, drivers will all have Sabastien Loeb expertise, so there will be more skidding, more flying stuff, more duck costumes, more destructions, more idiots, more lolis, more evils schemers, and more than anything, more cringe. There are some nice bits here and there, mostly when it comes to Miho and Maho, which is why i rate it 3. The tank battles are the worst so far. Even 30T tanks are piloted like sports cars and Alston Martin. Every rule they stated and protected in the original series and detailed in 'Shoukai Shimasu' are thrown out the window for the sake of showcasing more 'Oomph': more skidding, more explosions, more shots, more ludicrous techniques. 5 tanks can manage such a heavy fire that you may believe 20 are firing. But no, they simply fire every 3 secondes. Not 20, as was the case before. If you want to see hairy pursuits of tanks on a roller coaster, where they can actually advance and climb steep inclines easily without skidding (how convenient) or even having their tracks making contact with anything, you are welcome. If you want to see tanks flying or throwing other tanks in the airs, or making a 180° skidding half turn on the beach's sand as if it was a skating rink, you are welcome. If you want to see a large and cumbersome tank turning around 360 degrees while advancing and shooting in 3 directions almost like a machine gun while at the same time dodging every attack, you are welcome. By all means, watch this, you will love it. This sh*t is full of this kind of cr*ap. While the base series asked for a certain degree of suspension of disbelief, there was a consistent level of exaggeration that defined a norm for what we could expect to see. Here, it is all over the place. They stopped trying to make sense. The in-world logic is shattered to bits and you now have to watch not considering how things will unfold depending on the situation, but considering that anything may happen... Because there are no rules anymore. You can't expect a light tank to outpace a heavy tank anymore. Everything here subverts the expectations you came to have when it comes to battles and in-world logic after watching 'Girld und panzers'. In my case, this destroyed my interest for the tank battles so bad that it became a complete chore to watch. I already disliked it when i first watched it long ago, but now... it is beyond this. Characters: 3 Here, i rate the new characters, mostly. The old ones are just there, and they do their usual stuff. The Morals Committee has a pretty funny screentime at some point, and as i stated above, you can understand much better the relationship between Miho and Maho here. Almost everything else is so bad that i can only rate it below 0. It is not 'Infinite Stratos' level of cringe, but i can't see anything that is any good nonetheless. Obviously, the worst offenders are newly introduced characters. You will have the mysterious, wise finn girl that appears but is all about unanswered riddles for the sake of pretending to be deep. But she is basically only that: the weirdo with her instrument that appears and disappears like Zorro (the actual Zorro, duh). You will have the blue-eyed russian blonde that speaks only broken russian all along but suddenly reveals that she is so fluent with Japanese that she speaks it without any accent, which will be the start of a cringey, tear-jerking moment of utter stupidity that will make you question how Pravda ever won any battle to begin with... But worst of all is the ministry guy and the loli pandering figures. The ministry guy is a schemer. He is evil. He wants to close Ooarai. He will go far to undermine them. Why? Well... who t** f*** gives a sh*t about why? He is evil, period. Not once his motivations are exposed, or any logical reason is given for him being so stubbornly opposed to something that should hardly be relevant for him. And again, he is never properly retributed despite existing for the sole purpose of being hated. I pity the seyiuu who was given a non-character but still has to suffuse life in this empty, 2D shell. If anything, he comes up with pretty nasty plots. But he is merely there to be the bad guy that gives an excuse for the lame plot to unfold. As for the loli... it is even worse... Not only the archetype is uninteresting, but it has been forcefully pasted on top of the GuP cast... despite GuP not being K-ON. On top of being much more questionable than K-ON. It does'nt fit GuP because GuP is not a loli anime in the first place. It is an afterthought only meant to have a loli at disposal to use for promotional material. And so, it stands out in the worst possible way as a creep bait. One needs to question why lolis even exist in anime and what a lolicon is. There is nothing wrong in liking cutesy or moe animes. But in some cases... it can become creepy. Arisu is THE loli you have seen in every loli anime, down to the chara design. She is the cute, shy, small type, the type who has a toddler's level of fascination for teddy bears. But there is worse, and here is a major problem i have with Arisu. Oorai is supposed to oppose university students. Meaning, adults. But, you know, adults can't really make for proper lolis when it comes to pandering. Unless she is underage or looks to be underage, it won't work as a loli. So, do you hear the writers here? Writer 1: "Ah, we have a problem. She is meant to be in university. We want to sell to creeps, but creeps are not aroused by women stronger than them, or adult girls... what should we do?". Writer 2: "I know... how about we make her a genius girl that skipped high school? This way she will be even younger than Miho. That means, we can emphasise her petite build, her cutesy, and push the genius stereotype we always push in this case: geniuses are shy, they don't speak much and only in a cute voice when they do, and they may love teddy bears like my 3 years old. And on top of that we have an excuse to make her OP during the match". Writer 1: "Oh yeah... This way we will be able to showcase more of everything. It will be intense indeed. And... our customers will be allowed to fantasize over a university student instead of a grade schooler. We will be able to protect them from sad feelings of guilt. As japanese, we need to consider others' feelings after all... And... well... anything that makes money is not a waste." The one good new character here is Bocco. The Teddy Bear character. That is honestly genius concept. Except that it is only good as a concept. If they were to make more out of this, it would become cringe, since the base idea behind is: 'Bocco is weak, Bocco is cocky, Bocco can only fail because he is Bocco, and Bocco is cute because he is Bocco, so he can never win, never change, never evolve. Rince and repeat'. But as a teddy bear background character, this is a great success. Sound: 6 Sound related stuff is pretty good. Hirano Aya continues to be fantastic as Arisa. Izawa Shiori makes a miraculous performance with the Morals Committee. Whoever voiced the ministry guy did a good job making this non-character almost feel like one. Fukuen Misato, as the council prez, is the same genius she always was. They tried to give sound to every last thing in there. There are countless different sounds in battles that give what you see the weight of matter. Most are good. Some, though, are plain weird. Some cannons sound like laser rifles. Some tank machinery sound like futuristic power plants. Now, there is a great variety, so, despite it being slightly disctracting at times, i will still say it is pretty good. But... The noise of cannons is rather inconsistent. Most sound like airsoft rifles... and it doesn't work at all. Battles that have no music do rely on immersive sounds to work and convey intensity. If you want an example where it is well done, watch 'Strike Witches - the film'. No music, great impact. I loved it. On the other hand, if the sound is too muffled and inconsistent, the whole battle scene ends up suffering. And quite a few battle scenes suffer from this in here. This is made even worse by the VA that sound cheerful anytime there is a high tension moment. Remember this when the biggest cannon in the battle fires. Yukari destroys every incentive to build a tense atmosphere around shock. In the original series, Miho was put under heavy stress, and the series showcased it. Naturally it would be stressful. The situation felt stressful. But not so much here. When it comes to music and sound, there are two occurences i thoroughly enjoyed. The first one is the sound (or lack thereof) during the Miho/Maho reminiscing scene (definitely my favorite scene in the whole film). The use of sound here totally underlines the oneiric nature of the memory. This is fantastically well done, because we don't need any more, or any blabbering flashback to understand the relationship between the two. The talent to achieve that is sorely lacking is most works. Notably one i watched recently that sucks big time when it comes to this: "Yowamushi Pedal". The second one is a very original and seemingly out of place music piece centered around the Continuance tank when they assault this 'major ennemy' during the university senbatsu battle. A bass, a stringed instrument i don't recognize, a slow pace, and the action. In my opinion, the action scene is crap (see what i wrote above about this), but the music almost makes it enjoyable. Overall, this film is a prime example of how important sound design is: it can absolutely make or undo something. And in this particular case: sometimes it makes the show, and sometimes, it is the show's undoing. Weird. Visuals: 6 I don't care too much about visuals. Still, here are two bits... They make the best use of CGI in order to bring to life their battles. But the thing i liked most about the visuals has nothing to do with flashy stuff. It is, again, during the Miho/Maho scene. The use of colors and the fleeting impression the images on screen give off work very well with the sound and writing departments. This scene may be the simplest one in the whole film, but again, it is the best. There are some interesting camera viewpoints. Onboard a tank. From someone's perspective. From a gun's mouth... They use the fact it is 3D to add traveling, rotations, and all sorts of effects that gives the scene this punchy vibe. But, they don't go as far as crappy Hollywood directors who can only use confusing inserts to suggest actions, but don't seem to be capable of actually filming it, for whatever reason. Instead, here, It is punchy, but still understandable, most of the time. Note that i say it is 3D, but mostly what involves tank battles is. The rest is mostly 2D. The same as the series. Still, it is not always nice to look at. The movements and choregraphy work as intended, but as was already the case in the original series, many 3D environements are plain ugly. But again i can't say i care all that much... Overall/enjoyment: 4 The worst aspect of this film is the tank battles. Actually, if you love explosions and over the top action scenes, you may love it. This film is rated 8.18 at the time i write this, so many sure love it. I sure don't. And i thought i had to provide a different perspective, for the sake of whoever wonders if they should seek this film or not. The base plot relies on the 2 worst characters in the whole series, and since it is weak to begin with, its only good perk is to even exist... This would have been even worse without even a sore excuse of a plot. To me... New characters suck (except Bocco), the plot suck, battles suck, and the only thing that ensures this was not a complete waste of time is the relationship Miho/Maho. If you look for stuff with explosions, over the top, flashy action scenes, and an entertaining Ommph effect above all else, you may enjoy this. If you are into the universe, History, character developement and interesting writting, like me, you will likely dislike this. Or even curse it to oblivion.
Reviewer’s Rating: 4
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Mar 21, 2022
Skip Beat!
(Manga)
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(304/? chp)
This is going to be difficult to review...
Because you know, i am sort of attached to 'Skip Beat'. But at the same time, as of now, it never delivered what i wanted most out of it. And it is not even because the story drags on. 'Skip Beat' has this interesting part about it that its plot is actually twofold. One is the romance. The other is about acting, cinema and stuff like that. I am most definitely NOT in the target audience. I am a guy, and by now, i am much too old to be concerned with the world of high schoolers like Kyoko. ... So, obviously, i was always there for the acting career part. And this acting part is so damn well done... I mean it is REALLY well done. Nakamura sensei bothered to create actual scripts (good ones) for the roles Kyoko take on. From 'Dark Moon' to 'Box R', and taking into consideration Ren's role in 'Trajic marker', Nakamura certainly went out of her way to give substance to the roles and stories our characters act in. The scripts, the scenes, the characters, everything is there. And to be honest, each of of them is probably better than the script for 'Skip Beat'. Except, they wouldn't work as a Shoujo manga. But it doesn't stop there. Nakamura-sensei goes into details about how Kyoko creates her roles. How she struggles, why she struggles. She displays acting lessons, acting dilemmas, and she knows what she talks about. The end result is absolutely thrilling. When Kyoko slowly grasps her character more and more, and becomes more and more the character itself... It is almost like watching interviews of Joaquin Phoenix before he started filming 'The Joker'. She takes the mannerisms and expressions of her characters, as if she was only half herself. I was always fascinated by acting, roleplay and everything that entails living countless lives in ones. And 'Skip beat' really provided a massive window for escapism to me. All the more so that the one good thing about Nakamura-sensei's drawing is that she manages to convey very complex emotions by drawings alone. This exceptional talent is absolutely perfect for such a story about acting. And i really, really wish she would make the best out of it. And you saw the synopsis... Kyoko swore to reach the top. And we are teased about this. Like when Takarada projects to have her start on the world stage at some point. Kyoko meets the right persons, too. For the past 15 years, Nakamura-sensei has teased us about a story where Kyoko's career and her acknowledgement on the world stage would finally skyrocket. That would be very satisfying to me. But as of now, it is still mere teasing. It is not that Kyoko failed. It is that it didn't happen as of yet. She was told she should try for main roles, but she has yet to do so. But the other part of the frustration comes from one common japanese trope. One i hate with a passion. I mean, i really, seriously despise this trope. It is the 'invisible hero' trope. Kuroko in 'Kuroko no Basuke' is just that, too. But actually pretty much every last japanese main character in History is like this to some extent. Secondary cast characters will make it big, be overly fawned over, photographed, admired, celebrated and all the shebang, mostly in order to emphasize how the MC is super humble in comparison. And the MC will always be at best 'on the verge of succeeding' but never will. Idol animes are a lot like that. 'BECK' is a lot like that. Even Miyafuji in 'Strike Witches' is never even in the background, and however big her achievements, she is stuck fangirling over other characters (generally unsufferable ones). Every last genre is plagued by this trope. I don't understand what the point of undermining characters for the sole reason that they are the MC even is. But it sure is widespread. Maybe this annoying trope is the reason why Kyoko's acting career is dragging so badly. And i wouldn't be surprised if it were the case. Nakamura-sensei herself stated that she had no interest whatsoever in TV, showbiz, actors or anything. Right now she collects stones. It's great and all, but when i learned this, i started to realise why Kyoko's interviews were always skipped in the story, and hardly mentioned, and why the biggest emphasis is made on her respect of traditional Japan, and why we never really get to understand where her career stands at a given moment. We know when she earns negative points, but never when she earns good ones. Even though the synopsis is all about her 'reaching the top to make Sho regret being an ass', even though this is repeated and emphasized, even though Sho himself acknowledged this and defied her up until very recently... this is, as always in Japanese media... never fulfilled. Kyoko is never recognized in the street. There is even a joke about this where she walks amongst people who talk about a film being made in these parts, and nobody realizes she is part of it, because she disguises herself so damn well for her roles, that even her mommy couldn't tell it was her. 'Invisible Hero' syndrome. Sometimes she is even prevented to go on set by the security because they don't know she is in the main cast... Overall, at this point, i feel like Nakamura-sensei is disconnected with her story. She is in her 50's after all. Collecting stones and trying to tell us a story about 17 years old Kyoko's romantic life? I don't know if it is because she is disconnected or because of a weird japanese idea that a 'cool japanese' is necessarily the dead-pan type that showcases no emotion because he is so damn cool... but a big development that happened around chapter 293 fell totally flat for me. The whole romance can't involve me at all at this point. And it has to do with the fact i am not the target audiance. But not only. And obviously Nakamura-sensei doesn't seem to really understand what makes an american or russian and a japanese different. Ren becomes essentially more japanese than even japanese. This is part of the reason why learning that she collects stones worries me. I do believe that one needs to widen his/her perspectives, look at the world, look up and around to tell this kind of story. But her hobbies seem worlds apart from the themes that make up her manga. I can tell that she worked pretty hard to gather data about acting and how drama are made. But the more we go into 'Skip beat', the more Kyoko's dreams seem pushed into the background. "The Sacred Lotus in the Mire", Kyoko's last work to date, isn't half as developed as a script as the others were. The role creation was hardly touched upon. And this is a lot about Ren's neverending existential crisis, which i never really cared much about. On a brighter note, one of the strongest point in 'Skip Beat' is how sensible the character's psychology is. Ren and Kyoko's psychology is masterfully developed. Nakamura-sensei understands the human heart like no other. Because her drawing is as i said above, part of the storytelling comes without dialogues. This is nothing short of impressive. Ren and Kyoko are defined by traumas. They are stuck in systems they made for themselves in order to deal with horrible things of their past. From self-protection to self-hatred, from self-punishment to their crumbling psychology that borders on insanity, each one of them will try to make do and clog holes that open wide in their respective mind's fortresses as events and people unknowingly fire with heavy mortars at them. Each time they manage to make some progress and a wall finally crumbles, a new wall is revealed. And each and every time, i thought... 'Ah yes, this was obvious this other wall was there, it wouldn't make sense if it wasn't'. Sometimes i saw it coming, sometimes, i felt stupid for not seeing it coming. But overall it is pure logic. Some may feel that it is draged on, but still, it completely makes sense and feels totally natural. The problem lies elsewhere. It lies in the fact that for each given situation that may help move the plot forward, there are generally 2 or 3 possibilities, according to the characters' psychology and personality. But out of these few possibilities, Nakamura Yoshiki will always make her characters chose the one that stalls character development the most. It is logical, it works perfectly well, but once you get used to her logic, you understand that there were other ways that could have worked equally well with the characters. Except these would move the plot much faster. And once you start to see this, you start to realise how mechanical the writing really is. And yes, this reminds me of the stone hobby again. Nakamura Yoshiki is a master at storyboards. She may hint a detail, barely perceptible... and then another one 3 chapters later... these are build ups. If you just read through the whole thing, you won't notice what she does. She is a master at build ups because she is a master at storyboards. Her story is made of an intricate pattern or intertwined build ups. Some build ups are immediate ones, where she uses a situation she created to hint a sudden misunderstanding that may make the story progress. It always happen at the bottom of a page. I am sure you know how the top of next page turns out. Another build up is the mid-term one. It is constructed over a few chapters to reach a certain situation. Almost all the time, the situation is solved by going back to square one or something equivalent. Except knowledge of the incident will be reminded and may be used as a build up element years later. The last build-up type is a story arc build up. There are story arcs that hint that things can't stay as they are for much longer, and then the situations becomes more and more tense until... not much actually. Because the characters are who they are, the situation stalls not because of a lack of opportunity to make things progress, but because they need things to stall. Understanding that actually deflates the hype a lot... Rince and repeat. The whole thing is made up of intertwined build ups of various lengths and various ranges, and so you always are under the impression that something pretty intense is happening... This is pure genius manipulation. But... the build ups are only of two natures... either something bound to change the relationship between Kyoko and Ren... or a problem of sorts. My gripe is that the acting part is never teased this way, which tends to make me think, again, that the acting stuff is no more than a cumbersome afterthought for Nakamura. Which is really a terrible perspective for me. But even though i say that things go back to square one, this is not entirely the case. As i said, the memory of the event will be retained. And facts can only be ignored this many times. The story progresses. If slowly. Maybe the most debatable part of the whole manga is towards chapter 240/280 where 40 monthly chapters describe less than a week. And actually, i don't think much time has passed even up to chapter 300. It has been 180 chapters to describe 4 months of the second year. There are always little things that happen that get you hooked... And by the way... As of the time i write this, 'Skip Beat' has been publishing for 20 years. But even so, it didn't drag as much as you may think. 'Diamond no Ace' published the same number of volumes in the span of only 9 years. And 'Baby Steps' in 10 years. It is merely that while Nakamura published 35 pages every two weeks in the beginning, these past few years, she has been publishing only 20 pages (almost) every month. Days seem to never end in the manga, which is why it feels draged on. Overall, whether you will like it or not will depend. The writing method of the author knows how to hook a reader, almost terrifyingly so. And even at my age, suffice that i read a few pages and i am reminded of why i still look back to it once every year or so. I don't have much hopes to get the development i have been hoping for. Nakamura-sensei really looks to me as the more traditional and conservative side Japan, or at least, this is how she feels to me. I don't expect her to deliver, or go beyond what is expected of her. She already started a manga with a vengeful, possessed MC, which is already pretty gutsy for a shoujo manga. Something tells me that she won't go out of her way to do things she doesn't want to do at this point, and she doesn't care about showbiz (it seems to me that in her world, it is all about Japan, too, which doesn't help considering the overall quality of their TV and TV dramas. And even though her story is meant to be international). My biggest worry here, is to see 'Skip Beat' devolving into a mere, random, generic shoujo romance, deprived of any intent to develop its second storyline about acting. That would make the whole journey taste bitter.
Reviewer’s Rating: 8
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Mar 2, 2022
Attacker You!
(Anime)
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I first watched this on french TV in the late 80's. At the time i wasn't a big fan of this. To be frank, my sister loved it, and that may be half the reason why i craped on it so hard ^^'.
The interesting part is that i really started to like this when i first rewatched it in 2010... What is interesting about this you may ask? Well, it is the fact that this anime is almost as old as me, and there are old animes that make my eyes bleed. What is old is not always like good wine... it doesn't necessarily age ... well. I tried to rewatch "Captain Tsubasa", but it is beyond me... Much easier with "Attacker You". Story: 8/10 The story may be the best part of this anime. There is one reason why i rate it highly. It was made before all the sports animes stereotypes came to rule japanese animation and drilled into our skull that sports in anime have to be about the Inter High and school. Seriously, how many series did you watch that is just like that? - MC is a wimp, a blank carpet. The poor sod has no more purpose in life than your average toilet scrub. Fortunately, he/she will find his/her purpose in life through an awe-inspiring senpai that can make taking a shit look so damn cool. Hence, MC will get addicted to *insert any sport* for it provides sense to him being a toilet scrub, and MC will want to become the senpai (not 'like' the senpai, but become the senpai, literally. Talk about bad-ass psychosis). - The new life goal of our MC, aside from becoming his senpai, is to win the inter-high. It is because it is well known that once you graduate and enter a work life, your very existence will be about spending your life at work, doing nothing but looking good. Hence, you only have time to dream in High School. - The MC will have plenty of creepy lines about his love for the sports and his nakamas, and how he would sell his dog and grandma to slavers in Roanapur for the sake of going to the inter High with his senpai (all his senpai this time, this is where it becomes ever more creepy). This is the moment i watch with muted sound, personally. - 100% of the story the author will tell us is set in High School. The summer of the 3rd year sounds like the moment the main cast's death penalty will be enforced. As of now, i only found 2 sports animes that break this mold (i have watched A LOT of those), and be it as it may, these 2 are my 2 all time favorites in the genre: - "Baby Steps" (9/10) - "Attacker You" (8/10) Because obviously, sports is life too, like work or hobbies are. "Baby Steps" is about Eiichiro trying to become a pro tennis player, and "Attacker You" is basically the same, with Volley-Ball. Having a passion, the sport, becoming a life project simply feels natural, and i can't say enough how these Inter High sports animes feel narrow-minded to me. I wish all sports anime took example on "Attacker You". You (the MC, not U, gullible narcissist :)) will still meet the senpai Hayase, but all the relationships in the anime are at odds with modern standards. Her senpai hates her for she is the senpai due to her longer experience. The coach, Daimon, is violent and abusive. It is spartan, yes, which is a 80's trend, too, but you won't make your diabet worse by simply watching. No excess sugar to be expected. Characters: 6 I hardly ever go above 7 in this area. If i do, this means i found some genuinely great work. You is stereotyped in that she is a hard worker and live for her purpose, but she is not so obsessive as to forget everything else. She is not the oblivious type of character that won't understand anything. Her character is motivated by more than the mere sports, and the stakes of her life story go beyond Volley Ball. Her overly passionate behavior is not a mere steretoype, it is a plot device that contributes to deepen both herself and the cast surrounding her. Other characters are what you would expect, but they are always more than the stereotype they may seem to be at first. It is not deep enough to find oil, but deep enough for a sports anime. Actually, the characters in "Attacker You" may be the best out of all the sports animes i have watched. Her father and brother, Nami, Eri, everyone in the cast has something to offer. Art: 4 This was decent for the early 80's. But it was never remastered as far as i know... Expect some 4/3 blurry screens with sad excuses for backgrounds, reused animations and all that. Aside from that, the animation quality itself is very decent even to this days standards, and aside from the low resolution due to the age, the drawings are fine, too. In short, expect low resolution screens with simple screen composition and decent, if reused, animation. Most younger people will probably dismiss everything as crap, but i like to be thorough. Not everything is crap. Personally i don't mind the old visuals. Sound: 4 Basically the same as with the visuals. Many sound effects are very 80's (remember this when you hear the ball being hit ^^)... The series was not remastered and thus, the sound is like if recorded on an old audio cassette. Dang, audio cassettes were high tech at the time. But i personally like the VA. The trend for VA was different. It emphasized a more natural feel. Nowadays, it became a true art to add all sorts of gulps, sigh, peculiar tones and such. I like it, too. But i am unsure if one if stricly superior to the other. Still, expect for the sound to give you some genuine 80's vibes. Enjoyment: 9 You (The MC, not U, dang...) learns about the sports, struggles with her life, decides what she wants for herself and then vyies for it with everything she has. While it may sound stereotyped, it is not that much, as explained above. It is about a life project, and to me, it makes all the difference. Overall: 8 Maybe the 80's was a time when Japanese weren't that afraid of conflicts yet, and could conceive series where conflicts are a natural part of life. This i can relate with. But that is certainly not the case anymore, which is a source of endless frustrations to me, as i watch anime characters unable to voice anything and authors build all their stories by exploiting the resulting misunderstandings. Stories that could be solved episode 1 if only 2 characters just sat down and talked........ I learned last year that using pronouns like "anata" or "omae" sounded rude and thus are hardly used, and that japanese will hardly ever speak a sentence in its entirety, letting others guess what they mean... Times change. But not always for the best. All the more reason to look behind at times, and to try out old animes like this one.
Reviewer’s Rating: 8
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