Back to Stacys__Mom's Profile Stacys__Mom's Profile

I didn't enjoy Oyasumi Punpun. Now, I understand that I wasn't supposed to enjoy it. But I didn't enjoy that, either.

[INTRODUCTION]

Oyasumi Punpun (Goodnight Punpun in English) is a slice-of-life seinen manga written and drawn by Asano Inio. It follows the story of the titular Punpun as he grows up in modern-day Japan, focusing on his struggles with depression and his quest for a fulfilling romance. It's also about how he loses his faith in God as he is plunged into the real world, which may or may not be an allegory for the author's stance on escapist manga.

If that all sounds good to you, ... fine; I would encourage you to give this title a try if it sounds like your kind of thing. But Oyasumi Punpun isn't a manga for everyone. Here's why it wasn't for me.

STORY [3/10]

There's a beginning, a middle, and an end, but not much structure beyond that. The story is clearly divided into three "acts," each spanning a different part of Punpun's life, and each with its own climax. However, there is little foreshadowing or buildup to said climaxes; nothing to help the reader guess where the plot is going at any given moment. There is little sense of progression, and the story seems to meander through various disconnected arcs. Each arc is fairly formulaic: Punpun is unhappy, something unusual happens to him, and his visual design changes slightly. This would all be fine if it weren't for the fact that each arc is very much the same as the ones those that preceded it. As a result, the story often seems boring, monotonous, and unfocused.

This monotony seemingly exists to reflect Punpun's depressive outlook on life. While this was clearly the author's intent, it doesn't make the story interesting or entertaining to read. In fact, Inio stated in an interview that one of this reasons for writing Punpun was because he had always considered escapist manga to be "bullshit." The story itself is peppered with references to escapism, usually in the form of a God or similar belief, always portrayed as being an immature and unjustified excuse for one’s actions. Instead of wryly hinting at his messages, Inio instead decides to beat the reader over the head with them. This would be fine, but eventually the messages begin to overshadow the story, hurting its coherence and believably. Entire chapters will be dedicated to internal monologues reflecting the themes of this manga, rather than actual story progression. These chapters are only balanced out by faux-artsy segments which specifically try not to advance the plot, but these are far too common to be called "interludes." The best of these feel somewhat unique or innovative, but still boring, while the worst are tedious and totally unnecessary, only relevant thanks to their re-enforcement of the manga's already obvious themes. Inio is not exactly known for subtlety in his writing, and Oyasumi Punpun continues the tradition of shoving his beliefs into the reader's face even when he doesn't need to. In fact, with the exception of that regarding a certain religious organization, all symbolism and exposition in Oyasumi Punpun is delivered rather clumsily.

This brings me to the cult. The Pegasus cult, a group of individuals concerned with saving society from its inevitable collapse and spreading "good vibrations" to the people of the world, is one of the most commonly criticized aspects of this work, often due to its questionable relevance to the plot. And, while it is true that the side plot regarding the cult is especially rushed and unsatisfying in its conclusion, the cult itself is without a doubt the most interesting part of the story. Pegasus cultists spend most of their time calling each other silly code names and yelling into megaphones from the tops of buildings and vehicles, and are, for the most part, portrayed as lunatics. Their single-minded, overly optimistic outlook on life, combined with the constant promise that "things will change," reflects Inio's cynical view on escapism and how it does nothing to fix modern society's problems, which is a remarkably clever way for Inio to convey his message without relying on the endless stream of angst that comes from Punpun's mouth whenever he walks onto the page.

ARTWORK [7/10]

Before I get back into complaining about what this manga did poorly, let's talk about the artwork. It's admittedly fantastic - every character that the reader is supposed to hate looks intensely punchable and obnoxious (there's even a guy who looks exactly like a dick!). The whole thing feels like it was shot from a small camera thanks to the use of perspective and fish-eye effects, which further the story's candid style and oppressive tone. Inio is good at drawing plot twists, too. Just about any remotely surprising thing that happens in this manga will get an extra-large "reveal" panel, usually a zoomed-out version of the close-ups which preceded it.

Unfortunately, there's a problem here as well. With the exception of these "reveal" panels, there's not much variety or meaning in Inio's layouts. His choice to draw the manga as though it is being viewed through a camera's lens causes action shots to feel lifeless and dead, thanks to the camera's "snapshot" nature. Once again, was it intentional? Yes. Did I enjoy it? Nope.

Some drawings ignore the focus of the scene altogether. Conversations especially are full of disorienting layouts, while the aftermath of these conversations is usually a page or two of a character walking or sitting in solitude (if another character is trying to talk to them, there will be an annoying amount of close-ups), interspersed with plain black panels and white text, followed by a zoomed-out "reveal" panel. And even the reveals lose their charm in time, becoming a common occurrence and therefore not feeling special or surprising when they turn up. The tone of the drawings, much like the tone of the series, is painfully static. There is no variety; nothing to keep a reader interested or wanting to read on once the over-use of certain panels and page layouts becomes apparent. Great art is meaningless if an artist is going to confine themselves to a single, overly specific style of drawing for the entirety of their work.

CHARACTERS [3/10]

All of the characters in Oyasumi Punpun can be boiled down to a single sentence, usually which mentions that they are depressed, sexually frustrated, annoying, immoral assholes, or some combination of the four. Punpun in particular is easy to define: He does whatever you don't want him to be doing at any given time in the story. He's less a character and more so a laundry list of things that people aren't supposed to be doing in their life. He's also supposed to be a self-insert - but who wants to project themselves onto a character whose every action they disagree with, and whose mouth does nothing but spew meaningless, faux-philosophical gibberish in a futile attempt at self-justification?

On the topic of characters who are thinly veiled stand-ins for real people, Sachi would have been a perfectly permissible author insert... if she hadn't spent a large portion of her time on-page rambling about why hyper-realistic manga has value and why it's silly to criticize it. This aspect of her character is at its worst when an entire chapter is dedicated to Sachi explaining her own manga series to her publisher (91, in case you're interested). The chapter feels less like a characterization of Sachi and more like Inio venting about criticisms he considers to be unjustified, which causes a major break in immersion for the reader. Moments like these - times when Inio lets his own messages get in the way of the story he wants to tell - can be found throughout Oyasumi Punpun, and their jarring nature can cause the major dramatic scenes which they are followed by to lose their emotional impact.

Even the characters the reader is supposed to sympathize with are difficult to get attached to. Some have backstories so tragic that they are unbelievable, while others are so seemingly perfect that their inevitable downfall is painfully predictable, causing the reader to be wary about growing to like them. Furthermore, to say that the manga's realism provides justification for its characters' unlikability is absurd, as characters are perfectly capable of being simultaneously realistic and sympathetic. To say that this manga would lose its uniqueness if its characters were likable is, however, correct - and it admits what is perhaps the work's greatest flaw.

ENJOYMENT [1/10] -- FINAL SCORE [3.5/10]

As an artist, Inio has the right to tell whatever kind of story he wants to tell. However, as a consumer, I have the right to agree or disagree with the opinions and messages that he presents in his work. I previously alluded to Inio's statement that escapist manga is "bullshit," and I would like to take this section of the review to express my disagreement with this stance. Escapism is an important part of modern society; in many cases it is the only thing that keeps life worth living for people. As Oyasumi Punpun is, at its core, a story about depression, Inio should be aware of this fact. And, although it is better to face one's problems and change the negative aspects of one's life than to simply ignore them, there is still value in escapism. It could be what prevents someone from getting depressed or, better still, be exactly the thing that pulls them out of their depressed state.

Frankly, to imply that the world is a meaninglessly dark and crushing place that is doomed thanks to humanity’s own over-reliance on the valueless practice of escapism reflects an immature, self-important, and almost contradictory outlook on life - one with which I wholeheartedly disagree.

To put it bluntly, Oyasumi Punpun is a manga that successfully achieves exactly what it sets out to do, but whose inherent flaws arise from its very success. The problem is that I fundamentally disagree with the misguided reasoning behind Punpun's message. When one sets out to read manga, one is likely looking for some form of entertainment; if not, one is looking to learn more about themselves or the world around one's self. You don't learn anything that you didn't already know by reading Oyasumi Punpun, and it most definitely isn't an entertaining story to experience. Why, then? Why should you be reading something that achieves its own goals, but, by achieving them, loses most of its value as a literary work? If you're not a critic or an aspiring artist yourself, why would you want to read something that is intentionally unpleasant to read?

My answer to that: I'm not sure.

----------------------------------------------------------------------------------

TL;DR:

[+] Hyper-realistic, if you're into that stuff
[+] Unique art
[+] Achieves its goals with ease
[-] Painfully boring to read
[-] Reflects immature views on life and society
[-] Liking it makes you a NORMIE! >:D
[/s for that last one]

Recommended alternatives: 20th Century Boys (manga), 3-gatsu no Lion (anime/manga), Persepolis (graphic novel).

Agree? Disagree? Have a tomato to throw? Come and take it up with me on my profile! I'd love to talk with you, no matter who you are or what you have to say.

[INTRODUCTION]

Kaiba is a show that everyone should watch. Not because anything that it does story-wise is particularly spectacular, but because of how fundamentally different it is from everything else in terms of raw artistry with its music and visuals. It's not an outstandingly good show, but everything that it presents to the viewer is just so damn unique and interesting that I can't help but recommend it. The concept itself may not be original, but the execution certainly is, and it's the execution that makes this show worth watching.

STORY [5/10]

Kaiba takes place in a world where people can transfer their minds between each other's bodies. ... It explores the consequences of doing so by showing how various characters' lives are ruined by the cruelty of this society. The hero is an amnesiac who finds himself under attack in a mysterious room, holding a locket which contains the picture of a girl who is a wanted terrorist. Although interesting, the premise itself is nothing new. What makes it stand out in Kaiba is the overall atmosphere of the show.

While most cyberpunk shows would go for an action-packed, thrilling adventure story about a group of rebels overthrowing this system, Kaiba instead focuses on the more intimate and emotional aspects of the mind-swapping process, for better or for worse. The first half of the series is very episodic in nature, a collection of slightly connected fables each focusing on a different cast of characters and how they have been touched by the mind-swapping technology. These episodes are very, very sad, sometimes so much so that it can be difficult to suspend one's disbelief. Additionally, these episodes are very hit-or-miss. Some are great, and some aren't. Although some characters are easy to get emotionally invested in, others just kind of exist and force you to sit through their episode, hoping that the next one will be more interesting.

As the story progresses and more information about our hero's past is revealed, a plot begins to take shape, ditching the episodic structure around episode 9. At this point, lots of unexpected, bizarre, and exciting things happen. If you haven't been paying close attention, it may be difficult to understand or enjoy what is going on. It's worth noting that some viewers have complained that the ending of Kaiba feels "rushed," but I didn't have this problem. Some of the twists near the end do, however, have a habit of feeling forced or random, which can be a problem if you already had trouble suspending your disbelief through the episodic portion.

By the way, this show is not for children. It's confusing, violent, depressing, and sexual. The character designs might look cute, but, as many anime fans know, this means nothing in regard to how the actual story will play out. If you're looking for a family-friendly show, find something else.

CHARACTERS [5/10]

The characters in Kaiba are defined by their experiences, not their personalities. Much like the episodes themselves, not every character is immediately interesting. Many of the characters carry their own episodes - if you like a character, you'll probably like their episode. If not, well... tough luck. Because their personalities aren't as developed as their backstories, no characters are especially memorable or unusual, and a few of them are difficult to sympathize with, which is a grave flaw in a tragedy-based show.

The most interesting thing about the characters is that they don't have static designs. Because of the mind-swapping sci-fi shenanigans which are always present, you'll see different characters using a single body at different times, single characters hopping between many different bodies, and personalities shifting seemingly at random. This is difficult to get used to at the beginning, especially because many of the characters' personalities aren't immediately apparent, and you will probably need a sheet to keep track of whose mind is in whose body at any given time.

In terms of character relationships, the main focus is on the romance between Warp and Neiro, which is interesting because of how they love each other even through different bodies. Much like a Makoto Shinkai film, Kaiba dwells on the bittersweet separation between two lovers - something that I've never cared for, but that I can't deny is an intriguing aspect of the story.

ART [9/10]

Studio Madhouse is known for the quality of their artwork, but they really outdid themselves here. Rather than using traditional anime character designs, they opted for a much more avant-garde style, one reminiscent of mid-20th century American cartoons. The drawings in Kaiba are heavily stylized, soft, and round, looking almost like they were shaped out of play-doh or drawn by a child. Rather than feeling lazily put-together, this only makes the characters all the more endearing. There is a certain human frailty which is conveyed through the use of these designs, one that enforces the story's themes much better than most anime artwork could.

The simplicity of the character designs also allows for the animators to do much more with their movement. Even by Madhouse standards, the action is especially fluid and captivating, and a surprising amount of emotion can be conveyed through simple facial expressions and body language. This is, of course, all thanks to the talent of Misaaki Yuasa, the avant-garde directorial genius behind The Tatami Galaxy and Ping Pong: the Animation.

While the characters look small, fragile, and easily moved by their environment, the backgrounds are a stark contrast in their imposing nature, characterized by towering cliffs and tiny windows carved into the walls of threatening castles and spaceships. The oppressive feeling given by the backgrounds really adds to the story's overall emotional impact, and Kaiba would feel incomplete without the art presented in the way that it is.

SOUND [8/10]

My favorite part of this show was its soundtrack. Kiyoshi Yoshida and Seira Kagami did a wonderful job with the OP, which remains among my favorites for its soothing, simplistic, and somehow still emotionally rich melody and instrumentation. The soundtrack makes very good use of synthesizers and non-acoustic noises to heighten the mysterious, sci-fi vibe that the show gives off, and it thankfully stays hauntingly beautiful because it never goes overboard with loudness or complexity. My only complaint is that there were only a few different songs used in the show - as great as many of them are, they can get old after a few listens.

Not the OP, though. That will never get old.

ENJOYMENT [5/10] -- FINAL SCORE [6.4/10]

While I can certainly appreciate how unique Kaiba's artwork is, it occasionally left me feeling a bit more alienated than I believe was intended. On the personal side of things, I've never been much for romances or gratuitously emotional dramas, so there were parts of the show that I just couldn't enjoy as much as I feel most viewers would. Nonetheless, Kaiba is an anime that I'm not likely to forget anytime soon, and is one that everyone needs to watch.

Also recommended: Flip Flappers, Serial Experiments Lain, The Tatami Galaxy

"The process of delving into the black abyss is to me the keenest form of fascination."
-H. P. Lovecraft

At this point, if you don't have any idea of what this show is about, I would recommend you stop reading this review and just watch it, because I think you will get the most out of its setting and characters by going in blind. If, however, you have some basic knowledge of this anime's general tone and storyline, you may read on.

[INTRODUCTION]

Watching Made In Abyss is like watching a deformed child get vivisected (in fact, that's sometimes exactly what's happening). It's brutal, it's depraved, and you ... imagine there's probably some sicko out there who gets off to it. You heard about how awful it would be, but you ignored those rumors - it can't possibly be that bad, right? - and, sure enough, here you are, watching not because you like it, so to speak, but because it's the grossest, most morbidly fascinating thing you've ever seen and, try as you might, you simply cannot look away.

Made In Abyss is a story about limits. In the titular Abyss, explorers journey into a hellish wonderland, their hopes of surviving the return trip growing dimmer and dimmer with each layer of descent. Not content to just show the reader how the heroes suffer through their quest, Made In Abyss takes the watcher on a journey of their own with the heroes, challenging them not to look away from its twisted fantasy tale. What started out as a Ghibli-inspired adventure comedy quickly evolves into a nightmarish whirlwind of hallucinations, obsession, child abuse, and self-harm. Do you want to keep watching? Perhaps not. But do you have any choice at this point? Absolutely not. You're past the point of no return. This is one of the best, darkest, most faithful anime adaptations out there, and there's absolutely no turning back now.

STORY [9/10]

In my mind, the ideal adaptation of a manga fixes all of the manga's glaring flaws without ever straying from the author's original intent. Nothing should be cut, and nothing too noticeable should be added. And in my mind, Made In Abyss is exemplary of how adaptations should be done. Allow me to elaborate.

Made In Abyss perfected the art of the first episode. Right off the bat, it hooked us with its awesome production values and interesting premise, and the mysteries only continued to grow throughout that spectacular opener. And, as the viewers were treated to their first full-on view of the Abyss, the episode ended, leaving everyone hungry for more.

And the show delivered. Manga readers will notice that the pacing of the source material can be a bit... off at times. Considering the raw depth of the fantasy world Tsukushi Akihito has created, the speed at which the manga flies through its storyline could create problems for some viewers. The anime remedies this by taking a much slower route that really focuses on showing off the Abyss in all of its hellish glory. For example, a single manga chapter was devoted to the entirety of layer three, and the anime staff decided to give it its own full episode so that they could focus more on the ecosystems present in the Abyss. Ladies and gentlemen, THIS is how a studio should do filler. No unnecessary, non-canon material was added - the setting was simply expanded on and made even more immersive and realistic. These little, anime-original montages are what make the show so captivating and the characters so endearing, and I'm glad that they exist.

The other thing manga fans will notice is that nothing is cut from the anime adaptation. All of the dialogue, all of the scenery, and all of the gore is present. Even the extra chapters from the tankobon volumes are here. At this point, it's worth noting that Masayuki Kojima, known for his panel-for-panel adaptation of Naoki Urasawa's Monster, directed this project.

So, why only a 9/10, then? Well, there's just one little flaw, and that's the pacing. It can be a bit TOO slow at times. Because of this, I'd recommend binging this show in three or four sittings.

Well, it's not like you'll be able to stop yourself from watching it that quickly, anyway.

CHARACTERS [9/10]

What really sets apart Made In Abyss from other dark-themed anime is its characters. Riko, Reg, Ozen, Nanachi, Mitty, Bondrewd, Lyza, and more... each of them has their own little backstory and their own little connection the the Abyss. It's heartbreaking to see how each of them had their dreams crushed by the cruelness of reality, and it's even more heartbreaking to see their unique reactions to Riko and Reg's unwavering confidence and optimism. As a watcher, you really get the feeling that previous expeditions into the Abyss not only have shaped the world, but have shaped its characters, too. And some of these characters, like the artifacts and the white whistles they carry, are nothing short of legendary. Some of the strongest moments in the show come from flashbacks detailing how the pasts of two seemingly unstoppable forces clashed, affecting both their futures and their perception of the world. Like I said before, what really makes the characters special is how each one of them experiences a unique form of despair based on what they dreamed of before they entered the Abyss.

I can't talk about the characters without giving a little shout-out to Ozen. GodDAMN, she's so cool.

ART [8/10]

Probably the weakest aspect of this show, the artwork is nonetheless breathtaking at times. The background artists have their roots in Studio Ghibli productions, and it really shines through in Made In Abyss. For a fantasy show, one of the most important elements is the world in which it takes place, and the world of Made In Abyss can be absolutely gorgeous at times. The way light shines through the trees, the way fog slowly bubbles out of giant plants, and the way that the sun rises over the town of Orth are all spectacular on their own, but are nothing compared to the artistic triumph that is the Abyss itself; a gaping maw of a pit that is as imposing as it is captivating.

The same, unfortunately, cannot be said for the character art. Many of the characters have very simply drawn facial features, and there are times when their color palettes don't seem to live up to the standards set by the background art. The characters in the manga are very heavily stylized, with shadows drawn in painstaking detail on every object. Obviously, there are some things that TV anime simply can't emulate. The character designs themselves are very appealing, especially those of Nanachi and Brondrewd. Lots of the female characters are very cute, and the children seem vulnerable and sympathetic, looking like people you'd want to protect. I commend the anime for doing the best it possibly could have without using ugly CG.

SOUND [10/10]

Luckily, this show has something else going for it, something to make up for the mesmerizing nature of the manga that didn't carry over to the anime's artwork. And oh, boy. It's time for me to gush.

I would give the soundtrack an 11/10 if I could. Hell, I'd give it a 20/10. This is hands-down the best soundtrack I've ever heard. Not just in anime, mind you. EVER. Even if you've decided that this show isn't for you, I implore you to give the OST a listen, because Kevin Penkin did an AMAZING job. Less than thirty seconds into episode one I was already experiencing chills from "To The Abyss!". Seven minutes later, my breath was literally swept from my lungs with the soothing yet alien "Underground River." By the time "Hanezeve Caradhina" was playing at the end of episode 8, I was literally being picked up and dissected by invisible hands which then proceeded to feed me my own feel glands so that I could experience all of my manly emotions twofold. I likely won't ever forget it.

The OP isn't quite as creative as some of the background music, but it's still a banger. The ED is alright, nothing special but it emphasizes the "trust me, this isn't dark" atmosphere of the show.

ENJOYMENT [8/10] -- FINAL SCORE [8.8/10]

So maybe you're just a causal anime fan who is tired of the endless legions of Isekai and Idol shows, and you want something different. Or maybe you're a gamer like me who has always wanted to see an anime adaptation of hardcore-mode Terraria. Or maybe you're just an fan of interesting fantasy who was intrigued by one of the most original settings in all of anime and manga: that giant, gaping pit in the middle of an unknown sea, home to countless exotic and dangerous creatures and even more powerful artifacts just waiting to be found. Either way, you're going to end up in the Abyss. And that Abyss. Oh boy, does that Abyss suck you in. No matter what it is that initially appeals to you about this series, you'll be locked in a chokehold by the constant plot twists and the amazing atmosphere. You, just like Riko and Reg, are never going to come back. So go on, watch it.

I dare you.

TL;DR: If you’re watching for the plot, wait for one of your friends to pick this up on blu-ray. If you’re here for the overall experience, it’s totally worth your twelve bucks to see this at the theater. In fact, it’s worth it to go twice.

STORY (5/10)

One of my favorite authors is Ray Bradbury. If you’ve read any of his stories, especially “Night Meeting,” it’s difficult not to compare Kimi no Na wa. to his work. The mix of heartfelt slice-of-life and compelling, almost breathtaking science-fiction is what initially made me love his writing so much, and it is exactly this that is the ... strong point of Kimi no Na wa. We are introduced to our main characters as they find themselves inhabiting each other’s bodies, and, instead of delving into the (probably boring and obnoxious) science behind this, the story simply plays out in a very enjoyable and easily digestible way, showing how they cope with each other’s everyday life. About halfway through, a very well-foreshadowed plot twist hits, which was what really sold me initially on this movie. In truly Bradbury-esque fashion, we watch as the bonds built up between these characters are slowly broken down by a cosmic force beyond their control.

If you’re determined enough to find plot holes in something, you will find them. Obviously, Kimi no Na wa. is no exception. This is especially true because of the inherently convoluted nature of its premise - it explores understandably confusing topics like dreams, soul-swapping, time travel, unconditional love, and hallucinations. The fact that all of these intriguing ideas are blended together does make the plot at times difficult to understand, but luckily, thanks to Shinkai’s great directing, the viewer can always tell what emotion they are supposed to be feeling and what details are important at any given time. However, if you choose to dig a bit deeper into the concepts presented, you can find some plot holes (I can't describe them without delving into spoiler territory). Of course, because of how little is known scientifically about all of the topics explored in this movie, it's also equally easy to find justifiable explanations and cover-ups for these plot holes.

What really bothered me about the story, though, was not the presence of plot holes, nor its confusing nature. After the plot twist halfway through, the movie starts to pile on more and more plot twists, which range from clever to goofy. Shinkai is known for making his viewers cry during his movies, but it felt as though this movie was trying a bit too hard to affect its audience near the end by piling on new ideas that neither meshed with the overall message and themes of the film nor made logical sense with the rest of the plot. There's a time about a half hour before the end where it feels like the movie is going to be over soon, but it keeps going on for a while, trying out all of these new ideas that almost feel like alternate endings. It's as though this movie has planned out ten possible endings but can't decide which to use, so it tries its best to use all of them at once, using time travel as a cheap excuse for the inherent convolution which follows. Naturally, it feels sloppy, and the scenes which focus on romance actually subtract from the movie’s effectiveness by straying from its focus on fate and supernatural forces in favor of throwing in desperate attempts at making the audience cry, which feel wholly unnecessary. Emotional appeal does not necessarily equate to a good story. Just look at Scum’s Wish - it felt uncomfortable to watch, but that didn't make it good, did it?

ANIMATION (10/10)

Breathtakingly beautiful. Some of the opening shots are of a comet streaking through the sky, and it only gets better from there. At one point, it even turns multimedia, with colored pencils and a different drawing style… There's really not much to say here other than GO WATCH THIS F***ING MOVIE.

SOUND (8/10)

There were three tracks that really stood out to me here. The opening theme, the ending theme, and the song that plays during a montage about halfway through were all great. Besides being a bit generic (teen romance movies always need rock music, right?), they are certainly good. When I went to see this with my friends, we were rocking out to the soundtrack during both car rides. I’ll probably be listening to that montage song for the next couple years.

Of course, because there is rock music used in this anime, it is impossible not to make jokes about Naruto.

CHARACTERS (4/10)

This was by far the weakest part of the film. I find it ironic that I couldn't even remember their names after the film was over. Both the male lead and the female lead were the most generic possible teenager characters, with neither characterized by anything other than where they worked. Their reactions to being in each other’s bodies were quite well handled, with an emphasis on initial surprise and confusion, and this helped to demonstrate their personalities. However, because we were given minimal background on these characters and therefore no reason to believe that they would act any other way, it is worth noting that these were the most generic reactions possible.

Even worse are the side characters. If the motivations of the main characters were foggy, these characters have no motivations at all. We are told about their relationships with one another, but these relationships never end up being explored. Some are simply forgotten about. The best example of this is near the beginning, when characters complain about how the mayor’s daughter gets along with the son of someone the mayor is working with, and it is hinted that nobody likes the mayor. Following that scene, the topic is never revisited. This seems like a genuinely interesting side plot that could really lead us to understand our characters better, but it is absolutely dropped for no reason.

Perhaps it would have been interesting to see how the side characters reacted to our heroes switching bodies. In a few cases, we do see how the body switches have impacted their lives. But we never see the side characters legitimately concerned about the sudden changes in personality that they see the main characters undergo. They mention the characters acting strange, and leave it at that. Never do they actually grow suspicious, even when it is hinted that other characters have experienced the same phenomenon. This becomes especially problematic after the main plot twist, when one side character just accepts a seemingly impossible story told by his friend because the plot requires him to provide the exact materials needed by the main character.

Near the end we have one of our leads going in for a job interview in a hilariously blatant show of forced character development. The main idea of character development is that it is supposed to help the hero grow out of a flaw that they somehow developed for themselves long ago. This scene does not connect to any problems the main character had had earlier.

Another thing that you will notice is that the only possible ending that the writers decided not to visit in the final half hour would have offered an opportunity for much more coherent character progression. However, it was left untouched.

ENJOYMENT (7/10)

I said it before, and I’ll say it again: If you're seeing this at a theater, you're going for the visuals, not the plot. And, as a Bradbury fan, I even found the plot to be pretty enjoyable. I knew most of the storyline going in, so I could see that there was a fair amount of rewatch value included in the movie as well. I’m a stickler for Chekhov’s Guns and plot holes, though, so I was a bit more bothered than most by the film’s storytelling problems.

Also, I found it difficult to be emotionally affected by the movie because I felt no attachment to the characters. As explained previously, if the ending had handled itself differently or if we had seen some more background to these characters, especially the male lead, I would have cared about them much more.

Nonetheless, this was still a treat to see in the theater.

OVERALL (7/10)

The car ride home from the theater was spent with my three friends (all who gave the movie a 10/10) trying to convince me to raise my rating. I don't see that happening, but I completely understand why they enjoyed it as much as they did.

It's not hard to see why this is ranked number one on this website. It may not be the best anime, but I'm certainly comfortable with Kimi no Na wa. remaining as the face of MAL for quite some time.

As with any type of storytelling media, the overall value of a show will be inevitably judged by how much the viewer makes out of it. And, if there’s a show that exemplifies this idea of a viewer’s dedication to enjoying something affecting their overall opinion of it, it’s a strange little magical girl show from Fall of 2016.

Flip Flappers is one of the most polarizing series I’ve ever seen in anime. On the one hand, there are those who would defend it as ingenious and philosophically meaningful, while on the other hand there are those who dismiss it as cheap yuribait with a contrived ... and unfitting final arc. Obviously, I’m not going to be in the hate camp. But I won’t be trying to defend the show’s philosophical value either. I’m simply here to explain the reasons why I enjoyed a fun little Alice-in-Wonderland-style romp through the mind-bending world of Pure Illusion.

CHARACTERS - 7/10

The characters in this series are quite simple to understand, be it for better or for worse. Three stand out as our main heroines: Cocona, a melancholic schoolgirl who desires to quietly lead a normal, safe life but often finds herself going on fantastic adventures; Papika, an energetic girl who seems to be the polar opposite of Cocona in almost every way, and Yayaka, a more mature girl who seems to be grounded in reality as is Cocona, but even less so susceptible to the emotions that drive Papika.

Some fans have compared these three girls to the proposed three parts of the human psyche: id, ego and superego. This comparison would paint a picture of Cocona (ego) being pulled towards emotional, spontaneous desires by Papika (id) while simultaneously being pulled toward more realistic, colder motivations by Yayaka (superego). Now, there is no way to confirm whether or not the writers initially intended to structure the interactions of their characters in this way. However, it certainly makes for interesting and believable interactions, because the fact remains that, whether intentionally or not, the characters do reflect the psyche and the internal conflicts felt by almost everyone.

One of the biggest appeals of this show is the way that it embraces the “show, don’t tell” style of storytelling. The first eight episodes of the show focus almost solely on Cocona’s relationship with Papika, demonstrating to the viewers their characteristics and the clashes in their ideals by putting them in various fantasy situations that they’ll need to work together to get out of. Because of how, as the viewers, we able to experience the girls’ interactions firsthand rather than by being told about them via exposition dumps, the climax of the series when Yayaka starts to play a bigger role in the story feels much more meaningful than it would have if the show hadn’t spent its first two-thirds introducing us to our characters.

The side characters, although fun, don’t serve much of a purpose other than to provide occasional exposition or fanservice. However, each of them, no matter how small their role in the story may be, undergoes a complete character arc by the finale. All of their motivations and worldviews are explained through flashbacks, which additionally help us to understand their reasons for doing what they do and, more importantly, why Pure Illusion behaves for them in the way that it does.

VISUALS - 9/10

Easily one of the strongest aspects of this show is the visual style. The art is totally unique, looking very much like a strange combination of SHAFT’s character designs and Trigger’s vibrant, energetic artistry. The characters are drawn beautifully, and the landscapes of Pure Illusion somehow look even better. The trippy watercolors that blend together to form the backgrounds are stunning, and very well convey the atmosphere for any given episode. The dull grays that blend together during the “horror” episode set a completely different tone than the neon lights of the “mecha” episode, which feels altogether unique when compared to the infamous “Mad Max” episode.

Because Flip Flappers is a show about differences in perception of reality, another thing that it does exceedingly well is conveying a character’s emotion by showing what they can see. In one episode, Cocona and Papika are experiencing childhood through the eyes of girl in a dysfunctional family. When she walks in on her parents fighting, they are drawn very loosely, and they pulsate and distort, colors blending and changing to reflect the terror and confusion that this girl feels.

Flip Flappers also likes to tell its story through the use of symbolism and optical illusions. Early on, a character shows up who will later be revealed to be a villain masquerading as a kindhearted woman. Her first few appearances depict her as the famous illusion that makes it impossible to identify whether the figure in question is a beautiful girl or an old hag. Later on, the show teaches us to associate two characters with each other by giving them the same clover crown at two different times in two different episodes. It even warns us that it will get darker near the end during the first episode, when Cocona and Papika huddle together in the unmistakable shape of a human skull. Even simple things like inconsistencies in reflections tell entire stories in themselves, and a sharp-eyed viewer is rewarded handsomely for their attention to detail. If you pay close attention, you can predict almost the entire show just by watching the OP.

Finally, the animation during action sequences is absolutely brilliant. The fights are characterized by colorful explosions and bright streaks of color as the camera does loops and flips to follow our heroines. My personal favorite sequence is when Cocona and Papika fall through a tunnel into Pure Illusion, and the lines of their characters and the colors of ear skin and clothes begin to change and flash in a total acid trip of gorgeous animation. There is a beautiful scene when someone explodes into clover leaves that drift through the air in a single spectacular shot.

During the final episode, the Flip Flappers team ran into budget problems. Because of this, there is an obvious drop in quality during the finale, causing the show to just look “good” and not “phenomenal.” But hey - Evangelion ran into the same situation, and everyone loves that show.

SOUND - 10/10

The soundtrack is, simply put, one of the best I’ve ever heard. The OP is very catchy, and all of the insert songs are memorable and fit the tone of the scene well. However, the real shining point in the soundtrack is the ED, which is not only easily the best ending theme ever, but one of the best pieces of music ever. Listening to the ED just once will give you a good idea of how the series plays out. It starts as a simple, upbeat song accompanied by little bubbles and other sound effects that fully immerse you in its musical world, but it gradually evolves into an epic, more-than-slightly foreboding and mysterious orchestral piece that sounds like something out of Madoka Magica.

STORY - 7/10

Flip Flappers is a show about the Umwelt. The Umwelt is a theory proposed by a scientist named Uexkull (people who have watched the first few episodes of Flip Flappers may recognize Uexkull as the name of Cocona’s pet rabbit). This theory states that perception of reality is different for every given organism, and that each interpretation of the same experience is just as correct as the next. This show takes the seemingly abstract and advanced concept of Umwelten and makes it much more accessible and fun by presenting us with a story about two magical girls who have the ability to jump into these realities created by other people’s interpretations of their surroundings.

Now, what sets Flip Flappers apart from other magical girl anime is the fact that, after jumping into these Umwelten (called “Pure Illusion” in the show), what our characters do has a clear effect on the “real” world after they leave. Large amounts of the story are told through symbolism, and the viewer has to be paying full attention in order to get the full experience. For the first eight episodes, very little plot development actually occurs, or, at least, very little that is immediately visible. The final arc harkens back to everything that has happened thus far, and has the potential to catch the viewer by surprise if they got too used to the idea of being drip-fed a story. Flip Flappers draws influences from, parodies, and gives not-so-subtle nods to (some would even say “rips off”) Evangelion, Mad Max, Code Geass, Gurren Lagann, Alice in Wonderland, and Nausicaa, to name a few. I won’t try to defend these influences due to the fact that they didn’t bother me. The story was still a good one, and that was what mattered.

There are many theories as to what deeper meanings may be concealed within Flip Flappers’ eccentric plot. One of the more obvious points is the fact that, as the story goes on, it becomes more and more apparent that Cocona and Papika are in love with each other. As Cocona struggles to come to terms with her sexuality, she is eventually forced to confront an over-protective mother who is less than pleased that her daughter is a lesbian.

Additionally, Pure Illusion has been compared to the Dantean model of Hell by some, as various characters in the show state that Pure Illusion has layers, much like Dante’s model. Symbols of Hell and similar concepts such as the Thinker statue, the Drowning of Ophelia, and a literal vision of eternal damnation populate the show’s early episodes. Now, as I said, I’m not going to try and defend the show’s supposed philosophical value. But I will state that the entire series is very open to interpretation, almost as though it is the viewer’s own Umwelt. I can’t say whether or not this is intentional, but it’s very enjoyable either way.

The show can be divided logically into two halves. As previously stated, the first half is about Cocona and Papika’s relationship, and is very episodic. Some of the episodes suffer pacing issues, but nothing too dramatically awkward happens. Following the girls’ ninth trip into Pure Illusion, the plot finally kicks in and the show starts to feel more deconstructive, or at least much darker and more mature. Similar to how the Harry Potter books get progressively darker to reflect Harry’s maturing, Flip Flappers does the same as Cocona finally comes to terms with her sexuality. This is what has awarded the show with the most criticism: the ending. However, it didn’t bother me, because I saw it coming all along.

ENJOYMENT - 9/10

There’s not much to say here. I love this show. I would run home from school on Thursdays just to watch the latest episode, then lie down and ponder it for at least a good hour afterwards. I participated in drawing the great big thank you card that /a/ sent to the studio after the last episode.

OVERALL - 8/10

Flip Flappers is quite the enjoyable ride, for someone willing to keep an open mind and accept the show for what it is. It’s unique and pretty, if nothing else. Give it a try, and see if it suits your taste. If you aren’t sold by episode 5, it’s probably not going to be worth your time. But if you’re looking for something equal parts tender and intricate, this is a perfect choice.

There’s a type of show that has been showing up more and more in recent seasons, whether we as critics and reviewers like it or not. These are the shows whose success relies completely on how much the viewer likes a single character, with all of the show’s potential wasted on making this character as interesting and appealing as possible. Unfortunately, the result is, more often than not, a show with a cast of boring cardboard cutouts overshadowed by a single interesting character whose personality is a horrible Frankenstein’s monster of character traits that, despite not meshing, the show’s creators desperately hope will appeal to ... many fans.

“Fuuka,” Diomedia’s latest production, is one such show.

It’s a shame, honestly. Diomedia’s previous work, “Gi(a)rlish Number,” was thoroughly enjoyable due to its wide and well-developed cast of characters. Each character in “Gi(a)rlish Number” exhibited a specific set of character traits that could be identified and explained easily, character traits which managed to bounce off of each other and create legitimately interesting interactions. It came as a surprise, of course, to me when I was told by a friend that “Fuuka” was quite the opposite.

CHARACTERS - 2/10

As I've said before, the entire show is carried by a single character - Fuuka Akitsuki. As this is an ecchi romance, what ultimately decides Fuuka's success as a character is how appealing she is to the viewer. Her character hits on some of the right notes - She's very cute, for one, and certainly stands out in a crowd, given her pretty design and unique style of dressing.

However, Fuuka only stands out visually. Personality-wise, it's very difficult to figure out what kind of person she actually is. One moment she's acting defensive and violent, and the next she is acting clingy and romantic. Fuuka seemingly has trouble understanding what other characters are thinking, as well. At one point she catches the protagonist with a childhood friend and immediately jumps to the conclusion that this friend is the protagonist's girlfriend. After she runs away, the protagonist tries to talk to her, but she gives him the silent treatment until eventually punching him and saying "baka" in a very generic tsundere voice. Now, it's only natural to have mood swings, and, for some characters, mood swings can become a very entertaining plot point. But Fuuka's mood swings are little more than an annoyance, and are especially jarring due to their stark contrast against the two-dimensionality of the rest of the cast.

The main character is a run-of-the-mill, obnoxiously dense high-schooler, someone who can't help but get into perverted situations and then not understand what's going on. Usually, I can tolerate annoying characters as long as their annoying traits either make sense within the context of the narrative or advance the plot. However, this isn't true for our protagonist. When faced with a difficult task such as playing the bass for a rock band, he has the typical shounen-protagonist response of telling himself that he'll "do his best." I mentioned previously how Fuuka reacts to his being with this childhood friend. Well, he barely attempts to explain to Fuuka what's actually going on. The two main characters are so infuriatingly unable to understand what's happening that their misunderstandings drive the entire plot. If there's a better definition of "contrivance," I'm not aware that it exists.

As for the other characters, they're also pretty cookie-cutter. There's a gay guy whose entire personality is defined by his homosexuality, a controlling idol who would probably be one of my favorite characters if we actually learned more about her motivation and her reasons for existing other than providing forced tension between Fuuka and our protagonist, and a legion of sisters who always seem to be naked when our protagonist comes home for no purpose other than fanservice. There's not much else to say here.

VISUALS - 7/10

Diomedia has impressed me pretty consistently with their visual style. The characters are drawn with realistic proportions (with the exception of breasts, but it's an ecchi show - they're supposed to be large and attractive) and pretty eyes, and there is solid animation of hair blowing in the wind and of ocean waves crashing. Diomedia's style is characterized by the fact that the lines bordering objects are not black but are instead darker tones of said object's color. This gives the art a very vibrant, fun-to-look-at feel. During the opening sequence, the lines are traditional colors, with the shadows darker than usual in a sort of comic-book style. This is also nice, because it not only sets the opening sequence apart from the rest of the anime, but it gives the feeling of an exciting rock concert.

SOUND - 7/10

Well, it's a show about music. Of course the music is going to be good. The opening theme is performed well, and the female vocalist is especially talented. It reminds me of the ending theme from "Mob Psycho 100," which is one of my personal favorites.

My one complaint is that, although the song is good, we hear it multiple times in every episode. If something is going to be a shows opening, it's reasonable to assume that we'll hear it at the start of every episode, at the end of the finale, and perhaps one or two times during exciting scenes near the end of the series. However, whenever the band is playing, they play the OP. Once again, the song is good, but it gets old very quickly when you hear it as often as you do.

STORY - 3/10

I don't mean to sound crude, but the story feels like an eighth-grader's goofy sexual fantasy. The contrivances in the plot are absolutely hilarious, creating a perfect storyline for the protagonist that not only gets him into multiple perverted situations with Fuuka but that gets him making out with her not long after they've met. It's completely and totally unrealistic to think that the girl who accuses you of taking photos of her panties would ask you out within the day. It's equally unrealistic to think that she'd let you stare at her ass without noticing what was going on only a few short days later.

There's a subplot about a rock band which is, unfortunately, thoroughly unoriginal. It feels as though the band was simply thrown in for the sake of giving the story more substance, but the idea of joining a high-school band has been done many times, to a much better effect (May I suggest "K-On!"?). More coincidences are left for the viewer to simply accept - The band is missing a bassist and a vocalist, and it just HAPPENS to be Fuuka and the protagonist's favorite band, and these two just HAPPEN to be capable of playing the missing instrument and singing (Speaking of singing, the way that they establish Fuuka's talent is also painfully silly - She and the protagonist are walking home and she suddenly opens her mouth and belts out a really loud, really low song that most likely wakes up half of the people in town who are trying to sleep).

I have a small amount of knowledge of the manga, so I know where the story is going. Without spoiling anything, I must say that the impending plot twist will certainly distinguish Fuuka from other ecchi romance shows. However, the effectiveness of the plot twist will, of course, depend on how much the viewer likes Fuuka herself. If the viewer doesn't feel any emotional attachment to her, the plot twist will likely feel like another contrivance, and will be another unintentionally funny moment. My friend who dropped this show burst out laughing and vowed to watch the rest when I alerted him to this twist.

ENJOYMENT - 4/10

Overall, I'm not too impressed by the show. Having not read the manga, I don't know what direction the series will take after this nebulous plot twist hits, but I doubt that it will totally save the show. As of right now, I don't like Fuuka's character, and I can't see that changing before the end of the series. Of course, the art is still great and the music is enjoyable. I've always liked to see shows about bands and musicians. And I won't lie - I do enjoy the fanservice.

However, for a show that I started watching on a whim because a friend said it was "aggressively average," I do think I'll keep watching because I'm interested in what direction it might take in the future. If nothing else, it will provide me with a good laugh.

I hope you found this review helpful.