- Last OnlineNow
- GenderFemale
- BirthdayAug 15, 1997
- LocationLos Angeles
- JoinedOct 10, 2014
Also Available at
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Jun 19, 2021
13 of 13 episodes seen
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4
people found this review helpful
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| Overall |
6 |
| Story |
6 |
| Animation |
6 |
| Sound |
6 |
| Character |
6 |
| Enjoyment |
6 |
Vivy is a testament to how having excellent production values does not result in a good plot. Watching Vivy and expecting a meaningful plot on AI, sentience, and humanity is akin to expecting your calculator to answer "What does it mean to put your heart into something?". The way Vivy handles its themes is in the most shallow Hollywood way with no regards for subtlety or ingenuity. It is as derivative as it gets.
But it's still a fun ride. Don't get me wrong, the plot is still asinine and the characters never stop to think "Hey maybe we should do something about this giant evil
tower BEFORE it becomes a giant evil tower", but the action setpieces, the gorgeous setting and visuals, and the MUSIC, oh goodness the MUSIC are all so excellent you do stop to care about the plot's misgivings and learn to have fun. And I do like the ending, though it'd be better if it was extended just a bit.
I'm a sucker for the odd yet more-prevalent-than-you-think genre of "Saving the World with Song", so Vivy is up my alley and boy do they deliver on that front. Even the BGM is masterfully composed by MONACA is incredibly catchy and perfectly complements the scenes they're in. The vocals too, with each arc focusing on a different AI Sister of Vivy, gives us a unique and different experience on how each singer vocalizes their inner emotions and feelings. It's great!
Which is a pity then, as you'll find out, that, throughout Vivy's hundred year journey, her solutions are usually dead obvious but neither she nor anyone around her would stop to take the obvious route and change the future for the better, instead of meandering meaninglessly. Steins;Gate this is not (though they do send D-Mails on occasion). At no point did the plot make good use of its time travel gimmick nor does it reflect on the futility and fruitlessness of changing destiny. It really feels as if the writers are just writing this as it goes, thinking about what new and exciting setpiece to shove Vivy and Matsumoto in and how fantastic the songs are gonna be.
Maybe it needed more episodes to truly set the mood or set the pacing straight. In either case I can't send data back to the past to the production staff to make a better anime, and as Vivy shows it might as well be fruitless anyway.
In the end, the show we got, and the one we're stuck with in this timeline, is Vivy. A flawed and awkward model who's only really good at singing but goes on and tries (and fails) to make a better change in the world. We really should've gotten Diva: Galaxy Anthem instead.
6/10
Hey at least it's better than Tappei's other original, Sigururi...
read more
Jun 19, 2021
24 of 24 episodes seen
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0
people found this review helpful
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| Overall |
6 |
| Story |
6 |
| Animation |
6 |
| Sound |
6 |
| Character |
6 |
| Enjoyment |
6 |
Despite being an anime original from 2021, Back Arrow is incredibly nostalgic for me. A two-cour super robot show with a plot and setting straight out of a late 90s/early 00s JRPG? Sign me up. Back Arrow is a throwback to the anime from the early 00s, from a time where shows like these could co-exist with the entire landscape before being shoved out for the next big fad. Nothing from this show (apart from animation) feels like it's from the current generation, and it's great.
The story is penned by Nakashima, whose stories are all woefully similar, but they do scratch that itch of wanting
mindless carnage with shallow philosophical ponderings. It's the same in TTGL and KLK, and it's the same here. Especially with the part in the middle that meanders a bit and gets boring, and the part where the MC gets all emo. It isn't entirely original, but it's still a fun ride nonetheless. It's your typical JRPG plot where you start at a small town in a mysterious world and end up killing (or at least in this case trying to communicate with) God with a lot of trying to understand the meaning of the world. The climax is what you'd expect, and I do love me some hot blooded screaming. But the lousy ending just turned it all into kind of a sour note for me. Oh Nakashima, when will you pen a good ending after TTGL.
The characters apart from Arrow, Shu, Fine, Zetsu, and Rudolph all feel underused. I do think there's a point where there is oversaturation, and episodes do introduce seemingly important characters who are never seen again outside of cameo roles. The back and forth between Rekka and Lutoh lasted too long for me, I do think they really should've hastened the pacing to explore the true meaning of the world from the second cour onwards instead of continuing the war angle, which would have alleviated the incredibly rushed pacing of the endgame.
All in all, Back Arrow is a good throwback anime, if flawed in certain aspects which hasn't been fixed in the decades since anime of this type were popular, but it's still a fun watch regardless.
6/10
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Jun 18, 2021
12 of 12 episodes seen
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2
people found this review helpful
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| Overall |
5 |
| Story |
5 |
| Animation |
5 |
| Sound |
5 |
| Character |
5 |
| Enjoyment |
5 |
Gridman was one of my favourite anime from 2018. I say this despite not being into Tokusatsu all that much. The way Gridman challenged your expectations and left you with grand anticipation for every new episode, plus the excellent contrast between the human/existential drama and the over-the-top action made it one of my favourites. Dynazenon on the other hand, is thoroughly average all the way through.
For what it is, Dynazenon is still a fine and competent show, but it's really missing that extra something to really reel you into its world. The human drama and high stakes action are still there, though less intense compared
to its predecessor in both aspects. It's an average tokusatsu that doesn't do enough to elevate itself beyond mediocrity. The music isn't as good, the animation is less refined (though understandable given current conditions), and the action scenes all blend together. The show also reuses its transformation/combination stock animations far too much to the point of just making them unimpressive and dull as the episode rolled on.
The plot itself doesn't go anywhere interesting, with the complete apathy of the general populace to their city being destroyed each episode (apart from like one scene) being such a strange detail I swore it was a plot point (it wasn't). It's your typical coming of age plot, learning to work with others, moving on yadda yadda yadda. The characters are again just fine. Like, there's nothing truly outstanding about this, which wouldn't be such a problem if this were a standalone, but the fact that it had to follow up Gridman leaves a lot to be desired.
As it stands, Dynazenon is thoroughly average. It doesn't do anything particularly bad, nor does it do anything particularly good, though thankfully it isn't boring. But coming of the heels of Gridman, and having director Amamiya at its helm, it's not unfair to have such raised expectations coming into this.
5/10
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Jun 15, 2021
22 of 22 episodes seen
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0
people found this review helpful
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| Overall |
7 |
| Story |
7 |
| Animation |
7 |
| Sound |
7 |
| Character |
7 |
| Enjoyment |
7 |
"Once Everlasting Guilty Crown plays, the show becomes amazing" -- A Wise Man.
Guilty Crown is what you get if Neil Breen has a production budget. It is complete and utter garbage with no genuine redeeming factors attached to it, and I love it dearly in spite, no, because of its failings.
The sheer ineptitude of GC is astonishing, and you do get that Okouchi wanted to tell a story about oppression or natural selection or something, I don't know. The theming and plot threads are a complete and utter mess with no regards to any consistency or logic. And I wouldn't have it any other way.
It's a colossal trainwreck that you cannot look away from, and at the end of each episode, you just keep craving for more madness.
Any scene that attempts to build a serious atmosphere or setting just fails completely and devolves into delicious schlock. It's downright charming how the show ends up trying to reconcile its themes in the clumsiest possible way, and, without spoiling anything, it is absolutely a show that needs to be experienced to be believed. I don't know if you're supposed to be rooting for the villains, but I was rooting for them all the way, especially the Yandere Incest Sister.
Some actual negatives, Shu and Inori are the worst leads I have ever seen in an anime. Full fucking stop. Shu is such an unlikable beta of a character who whines and complains endlessly in the most pathetic fashion. Any time you see him onscreen getting beaten up by someone (except for Soda, fucking Soda), you cheer. The worst (best?) part is that somehow the show wants us to empathize with his journey, and his transformation from complete loser to Hitler (complete with Nazi parallels!) to Jesus (segway included) is equal parts shocking and hilarious. Inori...there is no redeeming her, period. She is a Rei clone with none of the depth or commentary from the actual Rei, or any interesting personality quirks. She's just there and she loves Shu because...? There's a reason why Rei clones are used more often in comedies than in any serious drama, and even then they don't make them the focus of the show.
The ending is surprisingly normal. I honestly wished they went full insane with it, but the note it ended on was disappointingly normal. In any other show I wouldn't have mind that much, but man, the presence of the entire middle parts from episode 9 onwards is so glorious, the trajectory was pointing towards a manic ending.
The music is fine. Most of the background tracks are pretty boring especially considering they've hired Sawano for it, but in the few tracks for the action scenes, you get that wonderful Sawano drop complementing some weird but awesome action setpiece. Egoist being defictionalized is also the only other genuine positive to come out of the show. Their songs for the OP and ED are fantastic, and their work in other shows are good too. Pity I can't get Inori out of my mind whenever I listen to them though.
Guilty Crown is the very definition of "So Bad, It's Good", and I'm thankful it ended up this way, and, in recent years, anime originals have played it too safe (this applies to Okouchi's other works as well). A competent yet mediocre anime will be forgotten in a few years, but something like Guilty Crown will still have its memories reverberating throughout forever, both good, and especially bad.
7/10
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May 27, 2021
1 of 1 episodes seen
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2
people found this review helpful
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| Overall |
6 |
| Story |
6 |
| Animation |
6 |
| Sound |
6 |
| Character |
6 |
| Enjoyment |
6 |
A das Finale style staggered movie release, one VA change, plus several delays later, we are finally at the first part (out of six) of the sequel series to Princess Principal, four years after its initial release. So how exactly does Princess Principal das Finale part 1 fare? Does it fulfill its premise of "spies and lies"? Do the two turtledoves consummate their relationship in Casablanca? Does it meaningfully build upon its unique Victorian era Cold War London setting?
The answer to all of these is "No". But it's still a pretty fun CGDCT show.
It's effectively the first two episodes of a hypothetical season
2 to Pripri, with relatively low stakes and a simple enough thread to follow through the however many years this film series will take.
Plotwise it's pretty basic, but I'm a sucker for Twin Switches in plots and Part 1 certainly utilizes this aspect more than the original series did. It's nice to see the main cast back in action, though Beato was surprisingly absent for most of the runtime. The few action sequences in this were fun and accompanied by the same-ish score from Kajiura from S1. The shift to a feature length production doesn't result in necessarily better animated or directed action sequences compared to S1, but they're still fine.
So long as you temper your expectations and come into this knowing it's the first two episodes of a CGDCT series and not a spy thriller, you'll enjoy the film. It remains to be seen whether the rest of the film series will live up to the foreshadowing and the expectations set by part 1.
And let's hope it's a one/more films per year kind of deal and not a GuP-style one film per two years kind of thing.
6/10
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Mar 31, 2021
12 of 12 episodes seen
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0
people found this review helpful
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| Overall |
7 |
| Story |
7 |
| Animation |
7 |
| Sound |
7 |
| Character |
7 |
| Enjoyment |
7 |
[Disclaimer: This review contains spoilers for the whole series, starting from the third paragraph onwards.]
Over-ambition is Wonder Egg's undoing. 12 episodes (really 11) is not enough to fully explore the extent of what Wonder Egg wants to be, and callous mismanagement of its writing and themes does turn the show into a farce.
Now, the statement above does not appear to correlate with my final score for this show. I should really say that in spite of all its flaws, I thoroughly had a fun time with Wonder Egg. It's not the thinkpiece it wants to be, nor is it a particularly impactful or meaningful
social commentary on suicides and social issues, nor is it the shallow piece some people make it out to be. It's not overly flawed, nowhere near perfect, but it is really fun.
[Spoilers start here]
And my what a ride it is. I'll be honest, I stopped taking the show seriously in Neiru's episode where a bunch of sci-fi mumbo jumbo suddenly intrudes upon what is otherwise a seemingly thoughtful piece on suicidal teens and the world that judges them. I know from that point on whatever the show intends to offer in terms of meaningful commentary will be overshadowed by either callousness or oversimplification of actual complex issues, which turned out to be the case when an evil robot is governing the suicides. And there's something in the background with Eros and Thanatos? Huh?
Anyway, I want to give you the reason my my score for this show is so high. Have you even looked at the show? It's seriously gorgeous. It's like Cloverworks turned up the raytracing on everything. The backgrounds, the characters, the animation, cinematography, lighting, direction, everything- is just a sight to behold. And for what its worth, Wonder Egg is nowhere near as shallow as a Shinkai film, its style is supplemented by substance. Admittedly substance that doesn't know what to do with itself come the halfway mark, but substance nonetheless. The music too, just excellently complements each scene its in without missing a beat. Really catchy beats that are both ethereal and easy to listen to. Reminds me a lot about the Monogatari's series' use of music in that show's more thoughtful moments. It makes the SoL scenes with the girls all the more enjoyable to follow, and their characters shine more in the easy-going rhythm to it all.
I've critiqued the overall writing, but honestly it's not all terrible. I've seen detractors call Nojima the male equivalent to Okada Mari, and his writing is nowhere near that bad. Nowhere in Wonder Egg did I feel the urge to just turn it off and do something else in the background. It's very flawed, but that's if you're going into the show expecting anything serious. The girls' talk and SoL scenes are all excellent, with a real brimming camaraderie underneath it all. At the end of the day, it's just 4 dorks hanging out with each other, and that is incredibly charming.
Now, to address the elephant in the room. I really think having the show themed around suicides is very much its undoing. Especially considering how dire the topic is in reality and how the writing fails to address it with the gravitas it deserves, or to make any insightful commentary on it and how the world around us leads to unfortunate events such as these. Having suicides caused by an evil robot is so dumb, it robs all the drama and thoughtfulness the series has had going for it in the past 9 episodes or so. The idea that you can pin the blame on such a serious issue to one entity is callous at best, and horribly offensive at worst. It's also why I could never take shows like Higurashi seriously beyond pure schlock value.
12 episodes is nowhere near enough to properly convey the story I think Nojima wants to convey. The one with Eros and Thanatos, not the one where 4 dorks have adventures in Wonderland. Even when the 13th episode comes out later in June, I highly doubt it would be anything even remotely satisfying to the overall narrative with Eros and Thanatos, unless it would pull a complete EoE and have a totally weird trainwreck ending for the sake of it. Which would also be a net positive in my case.
Wonder Egg is a fun but flawed ride. While not at all a trainwreck, it stumbles hard towards the end and never can quite recover from its fall. Enjoy it for its fun adventures and adorable character interactions, but maybe skip ahead when it starts talking about parallel worlds or evil robots.
7/10
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Mar 28, 2021
12 of 12 episodes seen
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1
people found this review helpful
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| Overall |
9 |
| Story |
9 |
| Animation |
9 |
| Sound |
9 |
| Character |
9 |
| Enjoyment |
9 |
Mono no Aware refers to the Japanese Aesthetic on the passing of things. Of impermanence and the change in time. In a post-Aria world, Non Non Biyori gracefully inherits the torch, and come this third season, elegantly embodies the spirit of Mono no Aware.
It's been 8 years since I started watching the show, and honestly I didn't care much about NNB at the time, casually dismissing it as some SoL show that's really slow. 8 years is a long time for someone to change, and I've grown old and miserable over the last decade. Having NNB around, rewatching the first season in fact, has made
me feel like such a fool with my earlier judgment. It really is the show you'd appreciate more the older you are, ironically in a show where the main cast is JC or younger. You go from seeing them as your contemporaries to seeing them as either a memory of what you were before. It strikes a powerful feeling that is very potent to you.
Non Non Biyori Nonstop is named thusly because is where the Non stops. Moreso than any other season before it, it's a season not only about goodbyes, but the importance on properly saying goodbye. In episode 10 especially, without spoiling much, you get to see this in action, rounding up a similar moment from episode 4 from the first season. That episode is so brilliant, you get to see the natural conclusion of Renge's character motivations and development, which (upon rewatching admittedly) was also touched upon Vacation's ending sequence, as she (and you, the viewer) learn the importance of properly conveying a goodbye. Actually, the last 3 episodes are all about closure and reminiscing. It's the point where you see the creative staff really outdo themselves and provide a proper ending to the series, and I'll admit the feeling of remembrance, of nostalgia, of the acceptance of the impermanence of life, is felt so strongly I nearly teared up.
Nonstop introduces two new characters to the cast. They don't change the dynamics of the cast too much, being relegated to mostly guest appearances, they do complement the show very well. Akane hardly has any appearances, but she does shine a light on how the greater world outside their village functions; her episode where she and Konomi tour a Matsuri in the city is a very non-NNB moment, but still enjoyable for what it is. Shiori on the other hand is a great complement to Ren-chon's character. It's refreshing to see Ren-chon interact with someone close to her age and the scenes resulting from this combination is very fresh as well.
Moreso than previous seasons, the direction and scene composition is impeccable for Nonstop. Restraint is a key word here, as many scenes are given time to linger on and remain onscreen to further enhance the tranquility and quietness of it all. It does give you time to reflect on the events that came before, or to highlight the emotions that permeate throughout. It is near masterful, though not perfect. I do wish some scenes would either go on for much longer, or to have unnecessary dialogue silenced, but what we got was still pretty damned good. Only NNB can have a 20 second scene of a blue gradient and have it be meaningful and emotional. As Vacation has demonstrated well, it feels as if the creative staff behind the anime knows atto's series inside and out.
It's hard to say goodbye, but one must understand the impermanence of things and the passing of time. It's ultimately what NNB is about, and as the manga and anime both come to an end, I am grateful for the journey it has taken me these 8 years or so, and I do hope for another series to take its place as it did for Aria.
Thank you Non Non Biyori. And Farewell.
9/10
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Mar 23, 2021
12 of 12 episodes seen
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10
people found this review helpful
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| Overall |
5 |
| Story |
5 |
| Animation |
5 |
| Sound |
5 |
| Character |
5 |
| Enjoyment |
5 |
Talk about a gem in the rough. When I went into this I certainly wasn't expecting the show to take me on such a wild ride, but here I am. I suppose theater type shows do inevitably muddle the line between the stage and reality, as with Revue Starlight, so I can't say I wasn't unprepared for the twists and the revelations that came, but still.
You know, as an adver-anime for the real life Alice In Theater Troupe, I must say I am impressed they'd bother doing a strange sort of plot that goes above and beyond the generic idol-style trappings of other shows.
For that, I must applaud its bravery in doing so. I like giving credit for shows that bother to challenge the medium instead of conforming to usual genre cliches and tropes, and for that, Gekidol at least deserves a participation award.
I did say it's rough though, and most of that comes to pacing and presentation. Fundamentally I do think Gekidol presents a genuinely fascinating story with parallels to the stage play the girls put up, the problem does come from the rough animation and pacing. The show is a pretty slow burn that doesn't reveal its cards until very late, and even then most of the show is relatively grounded up until the halfway point, where it just goes off the rails.
The main characters aren't particularly interesting, with Seria kind of losing her spotlight after the focus shifts to Takezaki and Kaworu in the latter half, and none of the other members of Alice In really do make up for the slack. I suppose the main plot could have used more episodes to flesh it out, as it stands the shift from "PTSD girl does theatre to get over her loneliness" to "Time police shenanigans", while not unprecedented, does feel quite jarring. Perhaps I could also use another viewing to catch any foreshadowing I may have missed.
As it stands, Gekidol is in a bit of a strange spot for me to recommend. On one hand I do adore the fact that it tries to do something different, but on another I feel like its shortcomings do overshadow its ambitions at times. Still, I'd recommend anyone with an open mind to give it a shot. Horror-mystery shows don't come too often, and just theorizing on what could happen in the next episode each week is riveting in it of itself.
5/10
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Mar 22, 2021
12 of 12 episodes seen
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3
people found this review helpful
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| Overall |
7 |
| Story |
7 |
| Animation |
7 |
| Sound |
7 |
| Character |
7 |
| Enjoyment |
7 |
You know, there are two shows with "Dungeon" in the title this season, and I very nearly stayed away from this show due to its stupidly long title and terrible-sounding premise. I never liked the idea of having an overpowered MC be the core of an entire series and I generally dislike harems in the first place. Thankfully, Tatoeba Dungeon is a standout comedy on all fronts and a fun experience all around.
Let's get this out of the way first, yes, the premise of Lloyd being ridiculously overpowered yet unaware is unfunny and the joke is incredibly stale and repetitive. However, unlike most other comedies
(and non-comedies) with a similar premise, the show has other jokes as well. My word, expecting a comedy show to have more than one joke, but man, do we live in an age where even basic competency needs to be praised. Anyway rants aside, the show is genuinely very funny a majority of the time, and even the Lloyd being overpowered does have a satisfying payoff that comes too late, but it's more than can be said when compared to most other shows, like the other "Dungeon" anime. If there is any downside, it's that some of the more serious moments do not have a place in the show and can dampen the mood a little, but otherwise it's still a solid comedy throughout.
The cast of characters is incredibly strong although it may not seem so at first. Virtually everyone is likable from the low self esteem Lloyd (who may actually be pretending all this while), to the short-tempered butt monkey Marie, to the perverted lolibabaa, to even a goddamned belt, everyone brings their A game to this show and it is truly a sight to behold. When a belt has more character than most other MCs of other comedies, you know you're in for a real treat. But the MVP, the real star of the show is the yandere belt-hime, Selen. My God does she steal every scene she is in with her crazed obsession over Lloyd reminding me of Urara from Sabagebu. It's a celebration whenever she appears. Even the villains, though they may appear out of place in an otherwise overly cheerful lighthearted show, do turn out to fit the setting more than you'd think.
Like I said earlier, one of Tatoeba Dungeon's strengths is that it has proper payoffs to its comedic scenes. For instance, a scene where Selen threatens to firebomb a place in order to spend more time with Lloyd may seem like a throwaway gag at first, but later on has actual plot-importance and a proper send-off to the joke established, forming an elegant payoff in the end.
Some of these may sound like faint praise but it's just so nice to see a fantasy-based comedy be actually funny. I was totally fearing a Kuma Kuma Kuma Bear or Average Abilities situation at first, but man, does it pay to be wrong at times.
7/10
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Mar 22, 2021
12 of 12 episodes seen
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54
people found this review helpful
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| Overall |
4 |
| Story |
4 |
| Animation |
4 |
| Sound |
4 |
| Character |
4 |
| Enjoyment |
4 |
Urasekai Picnic is proof that attaching a competent director to good source material doesn't necessarily result in a good adaptation. For whatever reason, the anime adaptation of Urasekai Picnic is plagued with issues through and through. From the moment the first PV dropped I should have been alarmed, the audio mixing was completely messed up, and the animation quality was subpar at best. Still, I tried to convince myself that it's just a bad PV, surely the actual show would be at least decent right?
I gotta start with the first thing that came to mind when I started watching the adaptation: Audio. The audio mixing
is awful. I think I get they want to do a creepy vibe, but even that doesn't work and most of the time the whole experience ends up being uncomfortable, like having loud sound effects drown out important dialogue or background noise overriding the whole scene. Music placement is also baffling at times, not that the score is any bad, but the placement truly leaves much to be desired with the BGM sometimes starting too early or too late, or ending too early or too late. The OP and ED are fine though. Maybe a bit too cheerful for my liking, but the days of having an actually scary OP for your horror anime has long past. (Even Higurashi has some generic pop OP now) The animation is subpar at best. The monsters are all janky, but not in a creepy sorta way, more in an ugly PS2-era CG kind of way.
I honestly don't know what production troubles the studio was under (perhaps doing 4 different shows in the same season counted towards it), but some of the creative choices can't be blamed on a rigid production schedule alone. Very odd choices like rearranging chapters beyond their intended order, which results in many plot holes as well as strange lapses in character development and pacing, really make this such a mess. Especially since they've added a few anime original chapters to compensate (?) for the gaps in between. I don't know.
If there's anything that's salvageable in this mess, it's the voice acting. Not because the performances are particularly groundbreaking or anything, it's a thoroughly average performance from your usual gamut of A-list seiyuu, but it's because you can now imagine in your head how the girls would sound like when reading the novel or manga.
The reason I'm being generous with my score is because
1. Kozakura is super cute
2. The anime introduced me to the (far) superior novel and manga, of which I am currently enjoying.
3. Watching this and Tatoeba Dungeon and contrasting the mains is hilarious.
4. The end of episode skits where Toriko and Sorawo goof around in a bar is the sole good anime original thing.
There. 4 points. Done and dusted.
Thing is, in this relatively packed season, there is nothing Urasekai Picinic does that isn't already better accomplished by a different show. If I wanted horror-mystery, I have Gekidol. If I wanted yuri hijinks, I have World Witches. If I wanted something with weird monsters, I have that Yuuki Aoi Spider Anime. If I wanted comedy, I have Higurashi GOU.
If I wanted a show that airs on Monday night made by Lidenfilms starring Kayano Ai and Hanamori Yumiri as the mains with the former playing a more confident foil to the latter's lack-of-self esteem character and both being in a romantic relationship...I have Tatoeba Dungeon.
4/10
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