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Eat-Man is a fascinating 90s anime that bewilders from the very start, doing whatsoever it pleases and never apologizing for it, which is an admirable thing, even if the end product is a pretty eclectic title that won't be everyone's cup of tea. Beginning with the story, I must be immediately clear that there isn't one. Eat-Man is an entirely episodic compilation of vignettes, these self-contained sci-fi short stories that sometimes touch on certain themes, but most of the time happen just because the dudes putting this together thought it'd be cool. Even though a good coherent story is always a good thing, Eat-Man still ... manages to make this a fun ride from start to finish, even if you are left wondering why or how certain things work every now and then. Regardless, you can always count on the protagonist Bolt to eat some metal and kick some ass, and at the end of the day, that is exactly what this anime should be delivering to you. Interestingly, it's based on a manga, but this anime has essentially nothing to do with it. It just took the concept of Bolt and some other stylistic elements and made the rest up as it pleased. They did make a later adaptation that's more faithful to the manga, but from my understanding this one has a lot more character and creative spirit.

The art is the strongest aspect of the anime, for pretty simple, straightforward reasons. It embodies that 90s warmth and detail that makes that decade of anime so loved, complete with fascinating visual worldbuilding, solid character designs, and some really strong examples of good animation. Having said this, the animation is sometimes lacking, but not in any places that necessarily matter. It is just a solid visual experience, and a fair bit more consistent than the story, and for that alone it is the central pillar of this show.

The sound is good, with a fun synth-based soundtrack, voice work that meets all the standards of quality for the time, and sounds of life that give the world a sense of gravity and impact, especially during action sequences.

The characters are interesting, though none of these single-serving secondary characters recur at all, leaving the inimitable Bolt Crank standing alone as the mysterious, sometimes oafish, and consistently badass main character that makes this show what it is. Throughout, he really does feel like he's driving the story. He sometimes completely transforms a situation he's in, and sometimes he's pretty much just an observer, but whatever the case, it almost feels like the world exists just for him to explore and get lost in. Overall, Eat-Man is a weird anime. I enjoyed my time with it, but you have to like the story format if you're going to get anything out of it. That last part's pretty much up to you to decide, but as for my part, I'd definitely recommend it, even just on the grounds that it's a thoroughly unique, maverick title in a time period and genre that has the tendency to get kind of same-y by way of sheer volume alone.

Battle Angel Alita, despite only being a 2-episode OVA, stakes its claim as a foundational piece of cyberpunk media, and is a well-known entry of the genre in anime form for a reason. On the surface, it just seems like a particularly impressive sci-fi OVA, but just under the surface is a poignant tale about poverty, meaning, and the destructive nature of ambition, told in a way which is utterly timeless. While it does feel stiff at times, and could use a little more polish, it still deserves its measure of notoriety, and honestly deserves a little more credit than ... I think it gets. Beginning with the story, as I said earlier, it is a powerful and well-constructed tale built around a clear moral lesson that doesn't feel contrived or preachy, and it is for this that the story is this anime's strongest aspect. It plays out in a potent, Shakespearean fashion, heavily character-focused in a fantastical and intriguing world that feels dark, bizarre, and somehow grounded all at the same time. The worldbuilding is so strong that it bleeds into every aspect of the story, from the secret profession of the kindly doctor Ido, to the struggle with identity that's at the heart of the mysterious cyborg Gally, and even the all-consuming obsession with the floating city of Zalem that defines Yugo's entire life. In this way, while you're witnessing each story unfold carefully and beautifully, you are totally immersed in a setting that is totally unique. Its brevity does rob it of some of its impact, but still. even at a mere 2 episodes it manages to deliver one hell of a narrative payload.

The art is just as ambitious as the story, though it doesn't manage to maintain the same quality throughout. It's got this unique, gritty 90s style that pairs so well with the cyberpunk genre, and a harsh use of color that makes everything feel all the more real and deep, be it the neon lighting of a public bounty or the dingy yellows of a busy alleyway, dingy and stalked by the lowest criminal scum. It even manages to soar to some really impressive heights in particular moments, namely scenes dealing with combat and mechanical destruction, displaying in these moments an absolute command of physics and speculative engineering. However, it is clear that they saved room in the budget for these scenes by cutting corners elsewhere, leading to some stiffly animated or awkwardly framed shots.

The sound is great, with minutely detailed sounds of life that makes the setting feel real and immersive, from the ubiquitous hum of a mechanized city to the quiet wet pattering of footsteps through the wet grime of a dark back alley. Adding to this general atmosphere, the voice work is vivid and emotional- a perfect fit for such a dramatic tale.

The characters are quite good, and rise to the occasion as perfect fits for the story they're in, feeling as though they have agency within it to drive the story forward. Of them, my favorites are Ido and Gally, Ido for his selfless yet badass moral code that dictates how he lives his life, and Gally for her defiantly optimistic outlook in a world of filth and crime, and of course her aptitude for combat, which can be summed up in a single word- bitchin'. Overall, Battle Angel Alita, while not perfect, is deserving of praise as an ambitious work of cyberpunk fiction, with a general appeal and deeper meaning that gives it the staying power of a true genre staple. As such, it is easy to recommend, even if you don't typically enjoy cyberpunk as a genre, as it has only all the best parts of it on display, and takes roughly an hour to finish. When something is so short and so good, there's almost no excuse not to watch it.

Megami Paradise is exactly what it advertises itself to be- an ecchi comedy with magic and upskirts and monsters. There's really not that much more to it, and insofar as this is its mission, it certainly does what it sets out to do. Beginning with the story, it's a pretty simple affair with a magical kingdom and an evil sorcerer queen who wants to rule over it and destroy a magical stone that keeps evil at bay, while a scrappy group of girls in service to the Mamamega save the realm. The Mamamega, by the way, is the good queen, ... while the Yamimama is the evil one, which got a chuckle out of me every time I heard either title. There's not really much else to say about the story, other than that is does its job of justifying the anime's existence, with a fair dash of self-aware comedy as it does so.

The real star here is the art, which is obviously what the people behind this anime put all their effort into. The character designs are fun and appealing, the use of color is vibrant and interesting, and even the animation managed to impress. of course, all of this is in service of a pretty basic ecchi anime, but its technical quality must still be recognized regardless.

The sound meets all basic standards of quality, with the voice work standing out as lively and energetic.

The characters are also pretty good, meeting their basic roles as somewhat generic heroines meant to fill their niches in fun ways. Of them, Lilith and Rurubell are the strongest, Lilith because she actually feels like a fully realized character with agency in the story, and Rurubell as an interesting take on the cutesy magical girl trope. Overall, Megami paradise is something you really can just judge by its cover. Regardless of its relative technical quality, it really is just a simple ecchi anime at the end of the day, and while it's not gratuitous by any means, it is still self-aware of its identity as some good old lowbrow slop, and if that's your thing, this'll be right up your alley.

Eight Clouds Rising is a fascinating, insular little 90s OVA that is in some ways similar and in other ways distinct from the massive catalog of short anime projects released at the time. If nothing else, it is a pretty, intriguing, and generally entertaining OVA. Beginning with the story, it follows a theater troupe visiting a shrine for inspiration regarding their upcoming play, as things begin to go awry concerning the bizarre mystical nature of the place, and the family that handles the sacred operations of the temple. While there are some weird themes I feel didn't necessarily fit in ... the narrative very well, it still has a very storybook atmosphere, as though this were something told around a campfire, which I believe plays to its benefit. However, it also only feels like a prologue, as though it is the beginning part of some more interesting story that it is about to embark on. Unfortunately, that part doesn't exist, and all that's left is a fairly solid prologue.

The art, meanwhile, stands out as the strongest aspect of this anime by a mile. It is rich, colorful, and smooth, bolstering the sense of a sacred and mysterious atmosphere that this anime gives off. I especially like how they animated the eyes of the characters, which are not only unique but also capable of carrying poignant emotion.

The sound is solid, meeting all basic standards of quality, with characteristic voice work and a detailed sounds of life that really breathe life into the show's more mystical elements.

The characters are also generally pretty good, meeting all basic standards of quality, and while they do feel as though they are being moved along by the plot for its own ends, that kind of plays into the bizarre religious atmosphere of the anime, which is a strength. Of them, my favorites are the brooding and mysterious Kuraki, and the generally nonplussed Emu. Kuraki is exactly the kind of character you'd need in a story like this, and in addition to bringing a good character design to the table, he contrasts the Naieve Takeo, while Emu, despite being only a secondary character, contrasts everybody in the story as being somewhat detached from it- Emu is just a guy, caught up in and yet unbothered by the goings-on of the strange tale unfolding around him. Overall, Eight Clouds Rising is a generally fine way to spend 58 minutes. Whether or not you'd enjoy it comes down to your personal taste, but if you like subtle Japanese mythology and ubiquitous forested mountainscapes, you'd probably find this worth your time.

Bounty Dog is one of the myriad sci-fi OVAs released in the 90s, and in many ways, it reflects the fact that it is just part of a crowd at the end of the day. While it does harbor some fun and creative ideas, and manages to be generally entertaining in a passive kind of way throughout, it doesn't capitalize on its unique aspects enough to really stand out. Beginning with the story, it is easily this anime's strongest aspect. The core concept of a fully settled, metropolitan version of the moon, harboring a dark alien secret within, somehow connected ... with a bounty hunter and his painful past, is actually a really good one, and has the potential to go quite far narratively. The execution itself doesn't really live up to the quality of its ideas, however, feeling distinctly rushed and somewhat disjointed. It definitely would have benefited from having some more time to marinate- I could have seen this being a cerebral slow-burn cyberpunk kind of show, like Ghost in the Shell or something like that. Still, it is a fun time in any case, inasmuch as you personally enjoy 90s OVAs.

The art is interesting, with a strong art direction that captures a gritty, cyberpunk version of Japanese futurism, and features some impressively animated fight scenes, though it sort of does a number on itself by applying this weird yellow piss filter over episode 1. Episode 2's art is far superior, in my opinion.

The sound is solid, meeting all basic standards of quality, though it must be said that the soundtrack is a good fit, with a citypop-style OP that serves as a very strong hook for the show as a whole.

The characters are generally pretty good, again meeting the basic standard of quality that I'd expect from this kind of work. They feel like they have agency in the story, too, and aren't just being moved along by necessity, which bolsters the general interest they bring to the table. Of them, our protagonist Yoshiyuki and his mercenary coworker Shoko are my favorites. Yoshiyuki is your archetypal blade runner-esque badass which is always fun to watch, and Shoko is a wisecracking mercenary girl who brings some much needed levity to the melodrama that can often come off as a little overbearing. Overall, Bounty Dog is a fun, if generally unremarkable, anime. It was worth my time, but at the end of the day it definitely lacks a more definite appeal.

Holy Knight is a very underwhelming OVA with some distant glimmers of interest that it doesn't capitalize on. It's weird, because while it is your bog-standard ecchi OVA, it still feels like it at least wanted to be different in some way. Beginning with the story, we're presented with this thin excuse of a backstory, complete with a vampire clan and a chosen one prophecy, which conveniently involves sleeping with the protagonist. It's all very sloppy and generic and isn't what anybody's watching Holy Knight for in the first place anyway. I did find the random overuse of acronyms by ... one of the vampire hunter guys kind of funny in an absurdist way, and Cammot was also a humorous addition in a similar fashion, but all in all it's still just uninspired slop. It exists to bring the vampire girl Lilith into ecchi distance with Shinta, and that's it.

Moving on to the art, it is the strongest part of the anime by far. Despite the show as a whole feeling cheap and rushed, like a kind of cash grab, the art is actually pretty good, with a good command of color, character design, and animation principles. It does look kind of generic in terms of its art direction, but nothing too bad can be said of its technical quality.

The sound is fine, meeting all the basic standards of quality, even if the voice work, especially for Shinta, can get pretty cringe-inducing at times, in a sense being too over-the-top and stereotypical to the genre.

The characters are barely characters, and exist only as an excuse to deliver ecchi content. Overall, this is your bog-standard ecchi fare, without anything of substance or interest beyond its main gimmick. In short, it's just a waste of time- there are much better ways to spend roughly 56 minutes.

Heike Monogatari is a poignant tale that relates the tragedy of the Heike clan, and does so with lavish, effulgent beauty, wreathed in symbolism and saturated in a sense of humanity not usually granted to the Heike in the retelling of their story, that family that flew too close to the sun. This is a magnificent retelling of a classic story rooted in history, resulting in a profoundly moving work of art. The story is the strongest part of this anime, as it is a masterful example of tragic beauty- through the addition of a clairvoyant young girl, you learn ... the fates of the Heike, and even so, the story endears them to you. Even through all their pride and their sin, you are treated to these characters as people, and the Heike as a family. It is flawlessly constructed, and manages to imbue its characters with a rare level of interest, down to the most insignificant storylines. It feels arresting in a classic, theatrical sense, grand and Shakespearean with all the life and color that entails, but somehow more earnest, more grounded and genuine throughout. From the frantic glimpses of coming death, to quiet moments beneath the moon, the heated pitch of battle, or the simple joys of a lighthearted song, it all feels real, it feels like life in all the ways it should. The way the story handles its motifs of impermanence, of grief, of duty and destiny and fulfillment, feels mature and complex in every moment, striking in every symbol it presents. In short, it is totally enthralling, and I cannot possibly heap enough praises upon its construction.

The art is a close second, as it, too, possesses a rare excellence. On the face of it, it looks totally unique, completely unlike anything else I've seen thus far, and that alone is impressive in its own right. It employs the use of a traditional Japanese color palate, as well as soft gradients and a kind of visual texture to everything onscreen so as to invoke the actual works of art which first depicted them. In this way, it feels otherworldly, but also elegant, precise, and in a way, more prescient than if it had gone with a more standard or a more realistic style. It fits this anime perfectly, and acts as a visual medium for many of the symbols and motifs that the story conveys, like delicate flower petals blowing away in the wind, or the focus on water as the source of the Heike's power as well as the implications it has for their ultimate fate. even beyond this ethereal quality, it is also just technically very impressive, especially in the fluidity of its animation, like the choreography of its fight scenes, its portrayal of everyday life, and of course the incredibly detailed emotion that plays on the face of every single character, even down to the most minute creasing of the eyebrows. It's almost more heavy with symbolism and raw emotion than the story itself. One caveat here is that sometimes the faces of certain characters look a little too stylized, resulting in a rather unpleasant face, but these instances are thankfully limited to only a couple of characters, and by no means does this have a notable impact on the art direction as a whole, which is still absolutely stunning.

The sound, too, is very, very strong. The OST is deeply moving, combining the sounds of traditional Japanese music, like the Biwa and the Japanese flute, with deeply emotional elements like a meandering, contemplative piano, and a variety of string instruments. This creates a mystical, almost sacred atmosphere, a space in which the story and its visuals can more deeply affect you than would otherwise be the case. The sounds of life are also rich and detailed, and furthermore the voice work is lively and impassioned, carrying the full weight of emotion that they intend, which hits heavy each and every time, be it a final goodbye or a first hello, or getting to know a character's innermost thoughts and worries- through it all, it often feels like they are speaking directly to you.

Speaking of which, the characters are, like most everything else in this anime, simply incredible. They feel like the movers of the story rather than being subjects moved by it, like everything hangs on their actions, their doubts, their struggles, even when you are treated to a glimpse of the future, and a foreknowledge of where these actions will one day lead, it still feels like these things happen because of them rather than to them. At times, I'll admit, it can be difficult to keep track of all the characters, as the who's who of the story gets pretty crowded, but this doesn't end up detracting from the anime in the end, as the most important characters are ones you are sure to be familiar with throughout the entire show. Of them, my favorites are Biwa and Shigemori. I like Biwa for her unique place in the tale as a tragic storyteller, who can tell the future but do nothing about it, who can merely witness and later relate the story of these people who took her in and raised her. Her reticence to tell the future at all also ties into this, as her abilities conflict with her innate desire for companionship and belonging. She is the perfect addition to this classic story, and I feel is a stroke of narrative genius. Then, Shigemori earns his spot as his namesake implies, 'the conscience of the Heike'. He is a kind, honorable man, who nonetheless does everything in his power to do right by his family, their legacy, and most of all, their wellbeing. He gives everything towards this end, and in a way, blown along by the winds of fate set aloft by his father Kiyomori and his ravenous ambition, he is very much like that girl he took in, Biwa. Even though he can't see the future like her, he in a way feels the same about his family. he knows where it's heading, and he can't stop it. He is the archetypal embodiment of beautiful tragedy, a man of honor at the crossroads of conflicting duties and weighed down beneath the yolk of history. Overall, Heike Monogatari is a true work of art, a dramatic, tragic masterpiece that relates one of Japan's most striking historical periods with a narrative skill and visual mastery rarely seen in the medium. Watch this anime- it is worth every second of your time.

Yumekui Merry is a fun, fast-paced, and eager anime, and while it's not a revolutionary work of fiction, it is loaded to the brim with cool visuals, interesting ideas, and honest enthusiasm. Beginning with the story, we follow the tale of a world in which metaphysical beings called 'nightmares' can possess people, either by taking control of their bodies completely, or entering into a mutually beneficial relationship of cooperation with them. Our protagonist Yumeji has some odd powers related to seeing and interacting with dreams, and Merry is a being that doesn't need a host to exist in the human ... world. The story is chock full of good worldbuilding like this, the kind that gives the story a lot of mileage to go off of- different people dealing with different nightmares with different powers and abilities could theoretically go on for several seasons without losing steam. Beyond the worldbuilding, it's just a solid story with good pacing and writing, striking a balance between comedy, SoL, and action. One shortfall it does suffer from, though, is that the metaphysics of how the whole dream world thing works isn't immediately clear, and gets seriously complicated towards the end of the show.

However, with this anime it's not the story you're watching it for- it's the art, which is the strongest aspect of this anime by a mile. It is colorful, detailed, and downright electric, all the while maintaining this unique, distinctly stylized art direction, resulting in an overall look that I'd describe as a cross between Soul Eater and Madoka Magica. This shows in the fluidity of its animation, especially during the various fight scenes, that feel smooth and crisp throughout, but even moreso in its character designs. All of the characters, but especially the various nightmares, are so poignantly designed and positively loaded with aesthetic weight- they don't feel generic, as they very well could have, instead having a distinct sense of identity and style that sets them apart, even from other anime in similar genres. Once again, I compare it to Soul Eater and Madoka Magica for how it handles its general art direction and character design.

The sound is good, with passionate voice work, detailed sounds of life, and an intriguing OST.

The characters are also solid, feeling like good fits for the story they're in, even if the field is a little crowded, and Yumeji feels rather generic. Of the cast, my favorites are Merry, for her energetic, unique persona, feeling simultaneously alien and endearing, and Isana, for being a beacon of kindness, and a rallying point for the rest of the characters to gather around and protect. Overall, Yumekui Merry is a solid anime with a cool premise. While it's by no means a masterpiece, it is a well-executed example of early 2010s anime, and it is definitely worth a watch.

Dragoon is good old mindless, generic fun. It finds itself adrift in the teeming ocean of 90s fantasy OVAs, and exists as the platonic form of that particular genre, indistinguishable amongst the crashing tide, stumbled upon only by mere chance, be it in the back of a video rental place back in the day, or deep in the internet's virtual recesses today. Beginning with the story, it is, like I said, extremely generic. A boy finds a mysterious magical girl with amnesia and goes on an adventure to find out about her past- with his father's sword in hand he ... gradually accumulates an adventuring party made up of various common tropes, all while fighting against an evil empire that has advanced technology. I could have told you the rest of the story as soon as I finished the first episode. Despite this, Dragoon is still passingly enjoyable, and if it were to randomly come on TV somehow, I'm not sure if I'd change the channel right away. Notably, there are some ecchi elements that feel a bit out of place in the rest of the story, which were for sure included to sell some more copies of the OVA. At it's core, it's still a good old adventure story, and while it doesn't stand out, it doesn't really do anything wrong, and follows the well-worn footpaths of its formula well.

The art is that familiar, warm 90s style, complete with a visually interesting, if somewhat generic, fantasy setting. However, it leaves something to be desired in terms of animation, which feels stiff and rigid throughout.

The sound, like the rest of the anime, meets all basic standards for quality, though the voice work is distinctive.

The characters are pretty much all tropes, with Sadi being your young idealistic swordsman with dark blue hair, Myuu being the mysterious amnesiac magical girl with white hair, Prince Rain being the long-haired blonde aristocratic gentleman, Lilith being the red-haired tomboy with fire powers, and so on. Despite how tired and predictable this is, the characters are still my favorite part of the show, given that their interactions feel engaging, and at times, natural. Of them, my favorite was the villain Bashua, as he was badass whenever he was onscreen, and had cooler lines than pretty much anyone else in the show. Overall, Dragoon is a fun, paint-by-numbers 90s romp that almost feels like you took all the other ones, blended them together, and diluted the essential principles of what was left into a short OVA series. While it's not a must-watch by any means, and there are certainly much better anime out there, it must be said that if you particularly like the genre, or are just looking for a way to kill some time, it might be worth a watch.

Battle Programmer Shirase is an anime about a whiny, incestuous, pedophile loser who's good at coding but bad at everything else. It's hard to say if he's supposed to be the most vicious caricature of an otaku your average suit could come up with, or if he's the end product of some bizarre, unflattering power fantasy. beginning with the story, it should, theoretically, be a fun show- a programmer who's so good at countering hackers that he's regularly recruited by government agencies and secret organizations. However, the execution just falls flat on its face. Shirase is fundamentally unlikable, and the ... characters surrounding him are so dry and one-note that it becomes a real chore to watch. Its worst sin is how hard it tries to be funny, failing miserably in the process. Furthermore, their portrayal of his interest in his grand-niece Misao, and little girls in general, feels as though it transgresses usual loli fare and takes on a distinctly unsettling atmosphere, as though their intention was not to capture a loli element, but instead to communicate something else entirely. It's hard to nail down exactly why, but Shirase's whole thing just doesn't feel 'lolicon' in the commonly understood sense.

The art is this anime's strongest point, but that's relative. It simply meets all standards of quality for the time, though even here it falls a bit short, as some of the characters are outlandishly ugly.

The sound is fine, once again, meeting the basic standards of quality for the time, though the techno-themed OST gives it a unique atmosphere.

The characters are all pretty poorly written, and feel as though they're just there to give Shirase something to do, or otherwise to fawn over him for no discernible reason. Overall, it's pretty easy to infer what Battle Programmer Shirase was going for, but to say it fell short of that is an understatement. This is a real piece of shit, and once all of its flaws are taken into consideration, there's very little left to make it worth your time.