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Nijiiro Days is a completely ordinary anime. Sure, if ordinary is carrying around a kinky whip … for recreational purposes, or confessing your love to your bros for practice? Packed into 13-minutes bursts, each episode revolves around the lives of eccentric high school students and their completely ordinary buffooneries.

It’s true: the main characters in Nijiiro Days are without a care in the world. Despite having talents in sports and academia, they choose to waste time together to completely goof off. Thankfully, their attitude towards life are largely why the show works. The spontaneity of the main characters adds diversity to the comedic timing within each ... episode. Its episodic structure feeds a curious audience that wants to find out more about Natsuki and how he manages to get a negative score on a test…

There’s something strangely engrossing in the way the main characters interact with one other. From the first episode, Natsuki sees threatening foreigners approaching a girl he has a crush on, Anna. His friends egg him on to protect her, and as Natsuki clumsily flails his arms in an attempt to intimidate, he realizes the foreigners were simply asking for directions. The next day, Natsuki’s friends reenact the scene in front of him, completely embarrassing him in the process. Scenes like this one vividly portray relatable pranks one would pull on their friends: the familiar feeling of lightly caricaturing and laughing at their blunders. And as the audience is reminded of the times something similar happened, they sing along to the tunes of Nijiiro Days’ comedy with a smile or, perhaps, a chuckle.

Not only balanced in its comedic delivery, Nijiiro Days also provides satisfying character development for its side characters. In particular, Mari is known to have quite a notorious personality. Indeed, she not only sports dangerous cat woman claws, but also earns the nickname “Spit Woman” from having spat on someone. While this embodiment highlights her comedic importance to the show, there are vulnerable moments that give a glimpse to how she developed such a crude personality. In addition, Anna is a kind and generous girl who usually keeps to herself. In the latter parts of the show, bits and pieces of her own echoing questions convey her mental journey: one of confronting a new feeling in her adolescence. And for the most part, this is done with pace and elegance. Comedy remains the primary focus, while individual characters confront their growing pains.

Occasionally, Nijiiro Days’ characters do lose their glamour. Whenever Mari or Natsuki shout at the top of their lungs, they make my eardrums spasm. To their antithesis, Anna is at times quite bland in her actions and response. These inherent character traits, in spite of character developments, remain a large part of who these individuals are. And it can be quite valid to say “one of these personalities do not click with me.”

Accordingly, a flaw for Nijiiro Days stems from where the show ends. Because each episode is essentially an adaptation of each chapter of the source material, Nijiiro Days really should have aired 57 episodes. Unfortunately, this wasn’t possible logistically because the manga hadn’t finished as Nijiiro Days was airing. Where Nijiiro Days ends, then, becomes a bit awkward: as episode/chapter 24 is where we are teased of a main romantic pairing coming to fruition, but not quite, the ending leaves much of the audience in suspense.

On the other hand, the animation in the show appears fluid, polished, and well-done. The character designs are colorful, with details in their facial expressions adding to the comedic value. Moreover, the voice acting accurately portrays each character and the music befits the lighthearted mood of the show.

Nijiiro Days goes by fast. Each episode packaged with fun happenings between a group of mischiefs, it’s perfect for a binge.

Ghost Tears opens with Motoko making passionate love to her then-lover, Akira, later even featuring the two attending another couple’s wedding with Motoko wearing a rather promiscuous, alluring dress. Her colleagues, especially Batou, make fun of how fatuous and short-lasting this relationship is. How does Motoko respond? She hacks Batou’s prosthetic arms, again reminding him of how humiliating it is to be punched by your own fists.

Being the third installment to the Ghost in the Shell Arise series, Ghost Tears is quite the bombshell. A sexy and assertive Motoko leads an investigation into a terrorist organization whose symbol is the Scylla, an ancient sea-monster. ... Meanwhile, given that the original Ghost in the Shell franchise only hinted at casually sexual relationships between Motoko and a few others, a great leap is taken to visually display Mokoto and Akira "passing the time together." And no, cyborg sex is just as crazy as it sounds.

As the story progresses, Mokoto and Akira's relationship eventually blossoms into a romance. And while this new development may sound fun and gratifying, the romantic flavor in Ghost Tears bears a double-edged sword. For one, because previous installments of the franchise never mention much about Motoko’s romances, teasing dialogue about Motoko’s former relations with men can feel a bit unnatural. Although Motoko has indeed always had an enigmatic quality about her, seeing her supposedly fall in love with another person simply doesn't blend well with her exceedingly self-reliant personality. However, that is not to say the romance wasn’t fleshed out appropriately. In fact, Ghost Tears is brave in attempting this feat while exploring crucial parts to Motoko’s character: Should a cyborg as robotized as Motoko live as a human or as an object? Should she love another human with ease?

These inquiries are hardly new to the franchise, after all. The original Ghost in the Shell (1995) portrays a mysterious and dystopian universe filled with questionings of the self, and Stand Alone Complex 2nd Gig similarly spotlighted Motoko’s character feeling lost, uneasy, and insecure. However, Ghost Tears breaks away from the crowd by sacrificing the always rational, composed Motoko in lieu of a perhaps more humane and emotional depiction of Motoko. As a result, her struggles become a bit more relatable, but can also alienate some viewers due to their inconsistencies to Mokoto's depiction as a character in the rest of the franchise.

In addition, the plot is also somewhat of a mixed bag. Similar to the first two parts of the Arise series, the mystery feels underwhelming mostly due to how little information is revealed, the loose pacing, and how quickly everything is pieced together. Akin to other installments of the Arise series, there’s hardly any thrill in its predictable manner of presenting a murder, some suspects, and then the resolve. In particular to Ghost Tears, the slow pacing for most of the movie is a rather different approach than the action-filled climax and beginning. And for some, this blend could come off as distasteful and chaotic.

The animation has its highs and lows: for the most part, the action sequences are fluid and invigorating when there are exciting encounters. Moreover, the blue ocean scenery within Mokoto’s mental universe and the city backdrop capture great atmosphere depth. However, there are some fairly flawed and dreadful-looking illustrations of Motoko in certain scenes. Her character design and composure would look off-set, and this made the animation look very shaky at times. But hey, at least Motoko’s exposed body was drawn to be aesthetically pleasing and rather erotic in some scenes; so no complaints there. Complementing the art, the OST was used suitably, and the ED in particular ended on a chill, feel-good vibe that left the movie on a pleasant note.

Recapturing the strangely charming aura of the original Ghost in the Shell (1995) while putting its own spin on Motoko's character, Ghost Tears is unique in its content but lackluster in its presentation: All in all a must-see for fans of the Arise series thus far.

The third time’s the charm. Almost.

A journey into Kyousou Giga is an experience like no other. It is perhaps, out of all things, most analogous to wandering in a circus, stumbling upon the Hall of Mirrors, and coming back having witnessed a sensational light show. In other words, Kyousou Giga is a show that stands out for its use of exuberant visuals; it displays a charm that is unique and impressive.

However, looks can often be deceiving, and thankfully, this is not the case for Kyousou Giga. Admittedly, the beginning seems bizarre; lots of random, unrelated events occur spontaneously. Nonetheless, a darker narrative, which Kyousou Giga skillfully weaves with ... its initially lighthearted tone, later takes center stage. And not only does Kyousou Giga manage to blend these heterogeneous elements together, it does it very well. It’s like seeing a constellation of fireworks as they meander into the air, only to explode in a colorful harmony. And never before have fireworks looked so beautiful.

Set in the Mirror Capital, Kyousou Giga begins with the Council of Three. The Capital is a painting originally created by a monk named Myoue, who, gifted with supernatural abilities, can give life to anything he draws. Lady Koto, by way of Myoue’s magic and an encounter with a bodhisattva, transforms from a drawing of a black rabbit to a human, and later confesses her love to Myoue. Myoue soon reciprocates Lady Koto’s affection, and creates the Capital, as society became increasingly intolerant of his supernatural acts, to escape from reality and to foster their family. Their family is composed of three children; Kurama and Yase, created from Myoue’s drawings, and Yakushimaru, a human being. The Council of Three are the three siblings who, after the sudden disappearance of their parents, took over the Capital. One day, as Yakushimaru is observing the Capital, a lightning storm comes by, bringing in its wake an eccentric girl called Koto, who’s searching for a black rabbit.

By a storm Koto arrives, and what a storm Koto will leave. As it turns out, Koto is a catalyst for trouble and chaos. Almost every scene Koto lands on is bound to be marked by havoc: wrecked either by her whimsical tendencies or her monumental, destructive hammer. The first half of the story does an excellent job of establishing her impulsive character and the second of fleshing it out. Particularly, as the central mystery of the black rabbit is slowly unveiled, Koto begins to gain a sense of belonging. As she searches for something that’s missing from her heart, the Capital becomes her compass, her guidance, and her home. Every character she stumbles upon gradually shapes who she is, and by the end, Koto has found the ultimate bliss. Thankfully, this development is paced properly and thereby blossoms naturally.

Koto also brings about excitement to those surrounding her. Acts of kindness and acts of joy, Koto’s true talent lies with her ability to inspire change by way of her impetuous acts. Her interactions with other characters, through thick and thin, effectuate in the development and characterization for said characters. For instance, one of Yase’s notorious temperamental outrages is stabilized by Koto when, after a duel of fists, Yase is able to calm down and reflect upon the kindness around her, a kindness of which Koto offers to those who need it the most. Afterwards, although Yase does not show it immediately, she begins developing a faint, more sympathetic aura than before. Subtly, she matures from a sprout to a flower.

On another note, Kyousou Giga also enriches its narrative by paying homage to Japanese folklore and Buddhist tales. And it does so excellently. Extrapolating on folklore such as the “Moon Rabbit” or “Scrolls of Frolicking Animals," Kyousou Giga breathes life into its mystical characters—imbibing the cultural significances that are entailed by said folklores. It is as if Kyousou Giga is taking inanimate legends and rendering them into contemporary art form—as if to yield the perfect balance between faithful “adaptation” and its own creative license. Luckily, this means that even side characters—many of whom are caricatured and used as a comic relief—are given flair from the past: colorful spirits that roam around nonchalantly under Yase’s rule, anthropomorphic animals that speak human tongue, and so on. Even an ordinary motif such as the recurring paper-cut crowds from metropolis can make for a great enhancement to the vibrancy of the Mirror Capital.

The presentation is, by and large, a combination of unique visual designs and stellar direction. When likened to Koto’s wackiness, the Mirror Capital is portrayed to be full of mundane follies and mischief. Moreover, Kyousou Giga is able to, in tune with its aesthetics, construct a universe supernatural in concept, but down-to-earth in essence. There's nothing quite like the way that Kyousou Giga fills its canvas: covering it initially with unearthly shapes and vivid imagery, only to be animated by a brush that conjures lifelike wonders. The end result is an unbelievably vibrant piece of work that is both pleasing to the eye and immersed with depth. Of course, this is not without the help of backdrops that depict all four seasons of the year; from the bountiful nature of the spring to the scathing effects of the wintry snow. Similarly, the OST serves its purpose well. Powerful during action scenes and minimalistic when needed to be, the OST complements the elegant animation.

A prominent theme in Kyousou Giga is the importance of familial identity. Many characters evaluate their self-worth entirely upon the status quo of their family, and for the Council of Three, who have a dysfunctional family, that is very little. Beautiful as it may be to see Koto develop her own take on her identity, it’s perhaps more joyful to witness the subtle transformations that overcome the three. Through trials and tribulations, they find that family is more than a superficial tradition to live by. To be a family means to make mistakes. To make silly decisions, to argue about frivolous matters, and to spend time leisurely: this is what a family does. It, akin to all things in life, isn’t perfect, and Kyousou Giga tells us not to hinge or weigh ourselves based on mistakes of the past or decisions made in the future. It tells us to live freely in the present, as Koto does, and to see the silver lining in the clouds.

Much of this is expressed via the lighthearted mood of the series; the comedy and the playful tone. Koto's whimsical actions and her buffooneries, more than the purpose of entertainment, resound the central theme of living capriciously. Without Koto, the Council of Three would’ve spent eternity waiting; without change, the present stagnates. Koto’s greatest tools to inspire change are her hammer and smile. All this is to remind us to live life to the fullest, joyfully.

Kyousou Giga is an impressive anime. Rich in folkloristic imagery, wildly creative in direction, and breathtaking in visuals, Kyousou Giga is certainly one of the best anime in recent years. Even with action, drama, and fantasy, it is able to harmoniously blend these elements together without homogenizing its creative, distinct flavor. Be it fireworks, a painting, or a Hall of Mirrors, Kysousou Giga is a work that deftly conveys its messages by way of its memorable characters, narrative, and production. A journey into Kyousou Giga is an experience like no other.

Recently, anime adaptations of western culture have become somewhat of an outlandish trend. Not only are these adaptations capitalized by world-building over historical accuracy, but they are also filled with unremarkable plot twists that occur spontaneously. Instead of quality writing and a substantial narrative, one will find uninspired executions of characterization and pretentious attempts at making grandiose, explosive scenes seem more than they really are. Regrettably, Galilei Donna is an anime that exhibits the very shortcomings of this trend.

In retrospect, Galilei Donna had it all: gorgeous sceneries, splendorous mecha battles, and a bizarre but spectacular synopsis. It had the makings of a great sci-fi tale, ... an epic journey about finding and reconciling with personal insecurities, and an innocent slice of life series. However, because it lacked the patience to blend these elements together harmoniously, Galilei Donna ends up having something of an identity crisis.

Set in the future of metropolitan Italy, Galilei Donna starts by introducing us to the three sisters: Hazuki, Kazuki, and Hozuki. As descendants of Galileo, they are a trio of the Ferrari family, each bearing her own distinct personalities. One day, agents from an enigmatic organization show up to chase after the three sisters, supposedly seeking for a family treasure called the Galileo Tesoro. By the time these agents have encircled the Ferrari family, we find out that the youngest sister Hozuki, a prepubescent girl, just so happens to have a flying goldfish machine to save them from the perpetrators. Before we're given any other information, we learn that she also miraculously constructed the entire machine by herself. And very conveniently so. Thus begins a traditional game of cat and mouse and treasure hunting.

A story composed largely of coincidences is just a sorry excuse for poor writing. For some reason, this is an inference that Galileo Donna doesn't seem to understand. See a missile flying towards you?—No worries, a deus ex machina will nullify the belligerence. Stuck in the past?—No tears, an unexplained chemical storm will drain you back to the future. It is ludicrous how, by being so painstakingly unpredictable, this series has become so very predictable.

Moreover, it tries very little to explicate the premise beyond its plot elements, and even when attempted, Galilei Donna does it in a fairly half-baked and frivolous manner. In a way, Galilei Donna could be trying to immerse the viewer in another dimension, however, this usually works atrociously. For instance, whenever Galilei Donna introduces details or tries to add depth to its plot, it’s done so very capriciously, and due to there being little purpose to these gimmicks beyond their initial use, they become arbitrary rather than significant contributions—recyclable instead of irreplaceable characters and causes.

Likewise, there’s also a lavish amount of gratuitous scenes. In general, there are lots of events that occur nonsensically. One scene could present some semi-humorless drama with a dark overtone, while the next would present something completely irrelevant or dissonant with the mood. From one frame to another, Galilei Donna would jump from the cute sisters doing cute things, to a sequence of imposing mecha fights. Unfortunately, this not only creates many discrepancies, but also discredits the overall seriousness of the plot.

Following the lackluster plot, a vast majority of the characters are two-dimensional. Their personalities are mostly caricatured; and their backstories often hackneyed. Out of the three sisters, Hazuki acts dramatically; Kazuki acts conservatively but at times speaks derisively; and Hozuki acts impulsively, yet is given the heaviest duties of the three. Most side characters chiefly serve as caricatures or comic reliefs, and though as humorous as they are, their antics get old by the third—fourth—until which time? There is a decent amount of time spent developing Hozuki’s character, but all of that is annulled each time she regresses back due to her insecurities. Sure, the last episodes provide her with some flair, but even marrying Galileo couldn't convert a duckling into a swan.

In comparison, the animation is simply splendid. Altogether, the background frameworks and scenery presentations paint a stellar landscape of the setting, and while perhaps overly extravagant, they provide the audience with a stimulating backdrop.

Additionally, there are a decent amount of mouthwatering mecha sequences in Galilei Donna. Poor concepts and designs (a goldfish mecha, really?) aside, the action frames are usually coherent, fluid, and pleasant for the eye. Mecha and action junkies will unlikely be disappointed. In fact, this should be one of the only sensible reasons one should watch Galilei Donna: for the stellar animation.

Similarly, the music delivers some relaxing and vigorous tones. The background music is silent when no sound is required, and switches back on whenever appropriate. However, the voice acting cast appears to be lacking in some aspects, as there weren't many outstanding voice talents. Not that there needed to be prominent voice actors or actresses voicing the characters, but the lack of tonal variances and fluctuations made some scenes feel unexpectedly dull and underwhelming.

Mindless entertainment—this is essentially what Galilei Donna is. A farcical story accompanied by insipid characters, Galilei Donna is a series meant to be taken at face value. Cheaply written narratives, convenient story resolutions, and lip-smacking visuals: these are what defines Galilei Donna. Be prompted to witness an in-cohesive mix of mecha battles, pseudo-mystery solving, and cute girls doing cute things. However, if any of those doesn't sound appealing, avoid Galilei Donna like the plague.

There is a common problem with character-driven stories that is often overlooked. They're supposed to engage the characters in various trials and tribulations, and by way of these occurrences, shape them into stronger individuals. It sounds simple, yet so many works fail to create memorable characters, instead relying on banal and insipid cliches to make the work seem more than it is.

Chikan Otoko is the antithesis to this trend.

It relies on the most frivolous acts and interactions between characters to naturally explicate the beauties of everyday life and characters. Moreover, Chikan Otoko never tries to be more than it is; and through its sincerity, it ... is laudable. Laudable for its shameless use of memes and potty humor. Laudable for it weaving together a narrative that is so ludicrous in concept. And laudable for its ability to blend heavier elements like loneliness and depression together with comedy and mundane follies, yet in a manner so lighthearted as if to remind us to laugh at our own miseries.

Be honest. Be yourself. A hackneyed phrase it may be, but simply put, you won't be able to get through life by being anyone else. This is a creed that our protagonist, Molester Man, follows closely. He's never been a hot-shot with girls. Since elementary school, he's engrossed himself in what one would consider typical "otaku" activities. However, his life takes a one-eighty when, during his college years, he coincidentally bumps into a beautiful female of the human species and, well, ends up trying to protect her, thinking that there's a stalker chasing them.

And so originates the name: Molester Man is, in reality, mistaken by Miss Understanding (the beautiful female of the human species) to be a stalker, and there was no one following them to begin with. Long story short, he gets accused of sexual harassment. Sounds ludicrous? Sounds insipid? Good, that's just what they want you to think.

The beginning chapters are arguably the weakest part of the entire story. Molester Man looks as if he's another two-dimensional geek who spends too much time browsing 2chan. Miss Understanding is yet another immaculate angel who has transcended the holy earth to become a cutesy reincarnation of Venus. Although initially unimpressive, these personalities and tropes quickly become entertaining quirks that will grow on the reader. Once the pacing picks up, the story also builds upon these quirks, making them a cherished and integral part of the manga.

A virgin he is, but an absentminded and oblivious individual he is not. Unlike innumerable other got-it-from-the-recycling-bin harem leads, Molester Man bares honesty. He is perceptive of his actions and, as such, reflects upon their consequences; he has the upbringing of a chivalrous man gone insane. At first, Molester Man feels apathetic towards (3-D) women, but by the end, he understands the importance of human relationships. He slowly reaches the epiphany, begins to feel original, vivid emotions, and most importantly, accepts his own flaws to reach a new perception of his world. His development feels so tangible that it's almost as if the author intended to involve the reader directly. It is not a call to action, but more so an emphasis on Molester Man's inner thoughts and emotions through the entire process. He grows, he trips, he falls over, and we experience this vicariously as we see him stand up. That's life.

Accompanying Molester Man's main development are numerous side characters that contribute to the story. Eventually, as Molester Man attempts to clear his allegation of being a stalker, he reconciles his relationship with Miss Understanding, becomes friends with her, and is introduced to her circle of friends. Contrary to the depictions of trite and (literally) flat characters, these newly introduced female leads all carry realistic personalities, more so than your generic blow-up dolls. And more than being believable, they are invaluable to Molester Man's development. Although not completely free of cliches and conventional tropes, most side characters are given a substantial role within the story that literally churn the gears of the plot. They influence Molester Man to feel feel-good feelings and become a feeler of all feelings that can be felt. Molester Man truly begins to taste the feeling and feel for the sentimentalities of manhood as he cops a feel from other characters. He feels more than just feelings; he is the feeling.

The simple-looking artwork, familiar setting, and its basic paneling are all largely why Chikan Otoko's comedy works so well within the context of its mundanity: unobtrusive speech bubbles, average-looking phone texts, and standard 2chan messages; plain, white backgrounds and plain, modest looking human figures. The art does not aim to impress, but rather, aims to complement the down-to-earth tone of its character interactions and conversations. It not only enhances the naturalism of the manga, but also enriches the dynamic and cleverness of the dialogue. The comedic antics are all so diverse and unpredictable that the reader will never know what bizarre nonsensicality is coming next.

And the comedy is just that: simple, direct, and clever on the one hand; at times shrewd, dark, ironic, and immature; or in many cases, it's just downright base and coarse internet humor. These may sound inappropriate in text, but Chikan Otoko manages to make it work. Some of the most memorable scenes from the manga stem from its brilliant humor, which range from exaggerated expressions to allusions made to Kuso Miso Technique. One might laugh so hard that they would actually spit orange juice through their nostrils while reading it. Not that I'm suggesting that I did such a thing... But in any case. Bravo, bravo.

Between its zany humor and breathtaking drama, Chikan Otoko is a manga that aspires to be something simple and ultimately shines in its simplicity. It's hilarious, silly, random, and presents to us a mundane story with phenomenal characters. Chikan Otoko is more than an example of a character-driven story done correctly, it is a story that will make one feel. Feel the feels. Live the feels. And become the feels. Feels the become.

Bold and cryptic, the original Ghost in the Shell movie (1995) is considered by many fans to be the apex of sci-fi anime within its decade. Over time, Oshii’s adroit directing influenced a multitude of many abstract ideas, both ambitious and creative. However, it was Kamiyama Kenji’s Stand Alone Complex iteration of the series that helped further the franchise's reputation as a result of its superb action scenes, script, and sophistication.

With that said, Ghost in the Shell: Arise is a series that needs no introduction. But perhaps in an ironic way, it is essentially the introduction for the franchise. Although the franchise is largely ... an elaborate piece comprised of intelligent crime cases that tackle thought-provoking issues, the cast remains enigmatic as a whole. In its entire run, only bits of backstories about the characters are scattered throughout, and Motoko’s relationships with the rest of Section 9 are not specified until the second season of the Stand Alone Complex.

Arise however, gives very little in the way of answers for the amount of questions that it brings to the table. In many respects, the premise of a cybernetic hacker is redolent of the original Ghost in the Shell movie, though the unsettling atmosphere is construed and explained in a very different manner. Arise is very much focused on Motoko herself, rather than the broader social scope. In the event of Border: 1 Ghost Pain there is an alleged conviction that Motoko is the culprit of a murder case, and Motoko must confront herself in the midst of confusions to clear up her name.

Consistently incorporated throughout the movie, Arise's ambiguity is the foothold for its mysterious components. While murky at times, the enigmatic nature of the movie allows for the truth of Motoko's conviction to surface in a tangible fashion. The beginning of the movie arouses a sense of confusion (in a good way) and easily attracts the audience's attention. However, the nature of the Arise series being separated into 50 minute entries very much limits the extent of the storytelling. In the case of Border: 1 Ghost Pain, this is especially true, as the riddle is unraveled in a predictable succession of preface, hinting of a villain, uncertainty, and then a final battle with said villain. The conflict is weakened in the process due to the simple mistake of a rushed pacing, leaving us with a shallow sense of suspense during the latter parts of the movie.

Despite the contestable issues with the pacing, the essence of the character dynamics hasn't lost its touch in this movie. Motoko slowly re-encounters and stumbles upon many future members of the soon-to-be Section 9, and their relationships remain underdeveloped yet still sturdy. For an introductory plot, Arise made a first-rate effort of delivering the story in a simplistic yet appropriately mystical pattern. Unfortunately, the said deliverance is occasionally soiled by the inclusion of one-dimensional villains, whose actions conveniently fit as plot devices where needed.

By and large, the animation is pleasing to look at. On one hand, the action scenes are all fluid and splendidly done. Likewise, the aesthetics generally illustrate appealing appearances. On the other hand, while the character designs are fresh and new, they could be viewed as dubious alterations by older fans. Similarly, the music is not as excellent as hoped. It is perhaps too high a bar for one’s music to live up to Yoko Kanno’s distinctive style. However, as individual background music, the OST is actually fine in setting the gloomy mood during the movie.

As an experimental film to follow up on an imposing legacy, Border: 1 Ghost Pain has done a surprisingly fine job of providing basic background. While some lesser parts drag down the tension of the story as a whole, the core of the franchise is still there. Although it does not pay homage to the long-lived franchise, Arise proves to be a fascinating take on the sci-fi genre. For that, Border: 1 Ghost Pain still deserves a try for its creation of an intriguing thriller. Naturally, there are still three other movies that are subjected to their own merits, so it'll be interesting to see where it goes from here.

The problem with creating a historical anime is frequently similar to that of adapting a manga or video game: oftentimes, the author has to resort to filler or fan-service materials to clumsily meet the airing requirements for shows. However, an axiom that directors ought to familiarize themselves with is that quality is invariably better than quantity.

Thankfully, this inference only applies to certain aspects of Maoyuu Maou Yuusha, a recent adaptation of the original light novels under the same name.

Set in a time period of gruesome wars to political corruptions, Maoyuu depicts a fantasy world where humans and devils are fighting for the ultimate authority, while ... exploring the infrastructures involved in wars. Despite it falling under the fantasy genre, Maoyuu brings many historical references into play--from the great innovations of the Discovery age (such as the compass, movable type prints, etc.) to the spread of crops like potato and corn into the agriculture industry. Moreover, it is reminiscent of a certain series that many of us could've never forgotten--Spice and Wolf.

Better known for its formula of enchanting romance, Spice and Wolf consists of a very similar antique structure in the way that it handles its plot, drama, world-building, and specifically, the daily lives of merchants. While this may sound bland, Spice and Wolf manages to make it work with a recipe of individual arcs for concentrated purposes, and thus, the viewer can gain a fine viewing of diverse episodes with several delightful, piquant subjects at hand.

If Spice and Wolf is a mix between curry and rice, then Maoyuu would surely be a mix between potatoes and candy bars; since, it is neither a smart combination nor a completely satisfying experience. Still, it's only in comparison that one is weaker than the other. The steady, episodic approach that Maoyuu employs very much stands out on its own.

A scaffolding plot, after all, is better than none at all. The story of Maoyuu starts out with our protagonist Yuusha, a hero siding with the humans, not expecting the beautiful demon queen Maou, whose only wish was to negotiate with him, in the heart of the demons' castle. After their fated meeting, Yuusha then embarks on a journey at Maou's will, and each episode continues with mini-stories about Yuusha's encounters and findings for a seemingly nonexistent reason.

Whereas, it is fairly obvious from the start that Yuusha has difficulties conveying his true intentions for Maou, and oftentimes these misunderstandings are used for comedic purposes as well as entertainment. Although repetitive, the several quirks that Maou and Yuusha begin to form do add onto the character interaction, and definitely made certain arcs more interesting.

However, side characters do abruptly intervene in the capital of romance arcs, usually with very few good reasons for doing so, and thus, some developments can turn out stagnantly without progression. Most side characters also have very little to offer, ranging from a delusive maid to female knights like Onna Kishi. At times, female characters would surround Yuusha in herds, and it becomes questionable whether or not pandering to the audiences was the purpose. And, although some characters were satisfyingly fleshed out with conclusive stories, other individuals had trouble deciphering their prominent role in the series. Such abstruse matters also bring up the lack of characterization or any predisposition to determine the presence of a solid personality for specific characters, since most of the cast only experience trite developments.

Maou, for example, is best described by her acquaintance as "useless meat". Although Maou herself denies this, and claims at all costs the significant deeds that she has achieved and will, the fact of the matter remains that her role embodies a few inconsistent hiccups. At times, she continuously aims to resolve world peace, while the scenes which repeatedly follow her scholarly deliberations are abruptly placed daydreams of Yuusha. Such applies to the grander scale of Maoyuu as it deconstructs historical figures and side characters to bring concerns about the time period being depicted--the medieval ages. Contrarily, the portrayal of the church's public servants during prehistoric times may have exaggerated some of the exploitations, but Maoyuu does extensively illustrate the corruption which overtook officials of feudal societies. Additionally, a charming aspect of Maoyuu resides with how the characters were named after fantasy classes, which effortlessly resonated a lovely core. However, due its enormous cast, Maoyuu couldn’t engender insightful eccentricities for certain characters as it did for others.

Likewise, the character aesthetics in the series stuck with genuinely dull decorations as exemplified by Yuusha, whose character design emits the appeals of a generic, immutable male lead. Similarly, Maou has her own pairs of inflatable balloon issues, which many will see as being hackneyed and unoriginal.

However, the art directing, layouts for many of the map animations and arrangement of urban images are, in comparison, much better. Correspondingly, majority of the background frameworks and presentations also fulfill their duty in making a location look rural, metropolitan, or even appropriately hideous.

Music is undoubtedly one of Maoyuu's greatest assets. The original soundtrack entrances viewers with its vibrant nature, and likewise, the use of many instrumental pieces evokes an indelible atmosphere. With a spirited opening and ending theme, Maoyuu further enlivens its vigor. Correlation between the animation and music also paints an impressionable feeling for the series overall, and the seiyuus all befit their roles perfectly.

On the contrary, good narration doesn’t necessarily equal quality dialogue.

While the conversations in the series do present interesting observations about macroeconomics, some expositions on the networks of commerce can come off as brusque. Not only so, Maoyuu emphatically focuses on the construction of its own fantasy world, rather than the chronological order of its historical references, so some of the mentioned inventions furnish idealized timelines over what's factually correct. This, in turn, produces temporarily engrossing world-building, but it can also repeatedly bore or confuse the viewer with arbitrary elaborations on ultimately flimsy subjects.

From the tone of my writing, it may sound like the majority of Maoyuu is about monotonous history or economics; however, during the latter parts of the series character relationships take center stage, and action scenes transpire more often. As most climaxes do, the story delivers a closing end towards previously unresolved issues, and desolating sides of things take form in both dialogues as well as battles. This, in some ways, may dismay some audiences since the pacing relatively changes, but as a closure, many aspects of the show become a lot more tasteful and digestible even in spite of the several interrelated topics displayed.

Moderately diverse, Maoyuu is a series that really tries to bring something to the table for everyone, and in its mixture of historical references with fantasy themes, some of its themes are marred by oversimplified explanations. Although the stale, generic personalities some characters exhibit are very definite flaws, the majority of Maoyuu can still offer insights on the economic and strategic aspects of war, which shifts towards a manner infrequently attempted in its medium. It is most unfortunate, then, that this unique concept lacks the excitement its influences (Spice & Wolf) had obtained so gracefully. Perhaps if given a second season, the lackluster aspects of Maoyuu can do itself more justice through more concise yet lively handling of its themes, and its character relationships may become even more captivating. If nothing else, this series provides a fascinating outlook on the protocols and systems of commercial economics, but sadly, is a hero crippled by his towering boldness of attempting too many feats.

Despite its unfortunate flaws, Maoyuu can still compensate for its faults by further constructing its dynamic universe, but only if a sequel will be permitted to fully execute the conceptual values.

"Talent wins games, but teamwork and intelligence wins championships."

As a retired participant familiar with competitive high school basketball, I must admit Kuroko no Basket reminded me of the exact reasons why I fell in love with the sport. Adrenaline, leadership, endurance, and most of all, team work. In a world with so many instructed paths to follow, should one rely on team work, or their own skills in a sport like basketball? Surely, Kuroko no Basket tackles this question with considerable reflexes, not with constant waves of seriousness but with tremendously well organized comedy and series of basketball tournaments, which comprises of flashy to not-so-flashy ... shots. But, those of you experienced with the sport or have actively followed daily lives of NBA athletes know that made-shots can never be considered flashy, or absurd. Since, what essentially makes basketball such an exciting sport is scoring a hoop which one would've never expected to otherwise, without a whim of luck or practice.

Besides whim and practice, though, there's also something many labels as "talent", but can anybody even consider being skinny-boned, inconspicuous an advantage? Well, many could beg to differ, Kuroko included.

5'6 and 125 pounds, Kuroko is nothing short of an elementary school kid who lost his way on a school field trip compared to an average athlete. Although unable to achieve a standard masculinity, Kuroko obtains extraordinary skills of creating illusions and making expeditious passes to his teammates. He's an interesting character, and his unseen ability attracts five other mysterious individuals. The Generation of Miracles is a label given to these five apparent prodigies of basketball, and during their middle school careers they were enrolled into the same team as Kuroko. Due to disagreements on how one should proceed with basketball, however, Kuroko leaves his five reliable friends, and begins seeking for his own style of playing at Seirin High School.

Luckily, Kuroko immediately stumbles upon a hot-headed, ambitious American basketball player named Taiga, and their adventures of crushing the Generation of Miracles start there. What defines Kuroko no Basket as an exciting anime then is how they proceed to demonstrate how eccentrically one could play out basketball--not as simply a sport, but a fiery passion. Due to the focus on this element, the director purposely emphasized the amazingness of dunks, and how even difficultly-leveled (fade-away, etc.) shots were easily prosecuted. Of course, it does then leave out very uncoordinated, clogged dialogue in the middle of games and though trash talking between teams is common, I think they did drag out some of the excessive dialogue. But, even those flaws just as effortlessly get rampaged over by aggressive characters like Taiga.

Oftentimes bluntly assertive, Taiga is Kuroko's teammate, but also much more than a teammate. He oafishly overcomes major issues without much thought, but is at the same time someone who accompanies Kuroko in the worst of times. Although bearing only one simple ambition, Taiga embodies a colorful amount of energetic traits you'd want in anyone, which greatly constitutes the overall spontaneity in the team. And his egotistic self committing outrageous acts is just a genuinely hilarious element of Kuroko no Basket. Even among the side characters are several mentionable members with similarly strong aspiration, and where one can find the diverse ranks of this series. The Generation of Miracles especially, begin as merely two-dimensional enemies that Kuroko needed to face, but eventually progress into characters with intriguing insights of handling one's adeptness in any sports.

With regards to animation, the character designs are well-done. Animated action sequences were all smoothly and feasibly produced. Some camera angles really capture the correct atmosphere for the tense phases in games, while sometimes the focuses on long distance shots were mostly kind of awkward. Nonetheless, the major frameworks followed coherent transitions for the characters to move freely on the court. Although some of the jumps and passes (alley-oops, etc.) in Kuroke no Basket are "ridiculous" even if made by professionals, it fit all so well with the over-the-top nature of the show that Kuroko no Basket wouldn't be nearly as enjoyable without them. The so-called impossibly-made hoops don't actually distract from the story and thus are vigorously exaggerated slams more than anything.

The soundtracks all viably made the series more interesting as it progressed - with change of pacing of some notably well-done melodies of hard rock, alternative, to relaxing, chill music. The OP appropriately fit the momentum some episodes started with, though a repetitive introduction of the generation of miracles does drag on for more than half of the series, which they did finally decide to rid of with a renewal of an alternative, better OP. Likewise, the OST is appropriately integrated within the series.

Ultimately, the bizarreness and absurdity are often what makes Kuroko no Basket stand out even among its shounen precedents like Slam Dunk and TTGL. Every character who speaks a line obtains a certain role in the story, never disappear off the screen without substantial explanation, and makes every shoot, block, or pass worthy of paying attention to. The story never nags the audience with unnecessary material, and it doesn't rely on a supernatural setting to make its exciting action scenes work.

Above all, Kuroko no Basket is really nonchalant when it comes to presenting creative ways of playing basketball in real life, yet it speaks through its friendly characters the sweat and tears which someone would invest into the sport. Surely, Kuroko no Basket provides exhilarating visuals; but even more, it promotes the importance of sportsmanship, and is truly inspirational. I highly recommend this series to basketball enthusiasts and those looking for a spirited shounen anime at its best.

After examining forums, comments, and reviews on Sword Art Online, it doesn't take a genius to recognize that this anime adaptation is one of the most controversial, disputable TV Series of the year. Thus, it'll be understandable if you disagreed with me at some point in this review, but please take the time to actually read it before deciding "oh, just another fan boy" or "gross, just another hater." Because, in my opinion, Sword Art Online doesn't deserve the amount of crap it gets or the amount of praises; essentially, it's mediocre.

First and foremost, the Sword Art Online TV Series is an adaptation of the ... light novels under the same name. People who have witnessed this pattern unfold before know the difficulties in the adaptation process. For those of you new to the community, when a studio announces an adaptation it usually means two things: fan service, and fillers. Sword Art Online is a perfect victim for the studios these days that desire the big bucks. What derived from a romantic, unique concept was transformed into an utter construction of unoriginality and clichés.

Other words, all the significant features residing in the original light novels were compacted down into seemingly unimportant bits and the wrong things got emphasized.

= Story (3) =

What the studios completely ignore first is the purity of the story, scripts, and chronological order of events. It doesn't even matter to the producers if positive/negative attention is given to Sword Art Online as long as the work gains popularity, discussions, and trends. Well, if you just watch anime collectively and only for enjoyment, it doesn't matter too much if the dialogues sound cheesy or unrealistic. However, there are too many clichéd story narratives, the dialogues require better writing, and [insert more heedless blobs of complaints you can read elsewhere].

The premise and first half of Sword Art Online actually poses an intriguing concept of survival of the fittest, which just isn't elaborated on enough to continuously track the audience's attention. In the actual light novel, there's much more emphasis on action-based themes than what's presented in the anime. Execution of the script definitely has problems, the pacing embodies inconsistencies which could've improved, and the story does contain some questionable timeline eclipses. However, it wouldn't exactly be the source material's fault if a parody of their work is bad.

= Character (5) =

The main protagonist Kirito and his companion Asuna both illustrate essentially perfect beings. Kirito is a beater whose masculinity cannot be touched by anyone vincible. Comparatively, Asuna strives for a taint of sexiness with her slender yet untouchable body, and she can cook perfectly--somewhat misogynistic but inevitable. As a couple, Kirito and Asuna are both interesting subjects due to their fair share of intimate interactions with each other and other characters at first.

However, the chemistry between the two main romance interests, in the anime, quickly devolves into little or none at all. Events are laid out too bluntly, at a false pace, and Kirito's dedication for Asuna appears to be more artificial than in the light novels. Asuna became a target for fan service and though the appearance for fan service itself isn't exactly a terrible thing, the problem resides with how they applied that to more females. What shouldn't have processed through as a harem became apparent. Instead of illustrating the chemistry between Asuna and Kirito wholeheartedly, the Series often diverted with several unrelated (female) story arcs, which in turn didn't contribute to much of Kirito's phlegmatic personality anyways.

The main problem with the side characters is that barely any time is spent on them and most of them don't really have a purpose after their first appearance. Even when they do, you don't remember their names or why their presence is significant.

= Animation (8)/Sound (9) =

It's almost factual that nobody can complain about the artistic aspects of Sword Art Online. The impacting action scenes did themselves justice with intense atmospheres. Character designs transported from the light novels comprised of more details and it is overall fitting. Noticeably, the background in some of the scenes portrays a vivid, limitless sky, which soothingly befits the floating island setting.

The Original Sound Tracks from the anime are just fine. Although it would've been better to switch around its soundtracks, the synchronization of music with the art worked out efficiently. Both the Ops & EDs consisted of scores beautifully done by the artist; Yuki Kajiura strikes the mood perfectly yet again. Each voice acting roles also surprisingly resembled their character's traits.

= Enjoyment (7) =

Admittedly, Sword Art Online was a guilty pleasure the day it aired each week despite its flaws. The premise alone embraced me in a MMORPG setting which many have nostalgia for. Although a bit romanticized, the production actually portrayed the prehistoric Medieval Europe (in this case) and flourishing civilization of many cities like Venice at the time fairly well. And those familiar with the time period knows Sword Art Online just added another layer of wistfulness.

Honestly, Sword Art Online provides decent entertainment if you watch it playfully without expecting serious, satirical works of some sort. Otherwise, it may be a disaster if you end up taking the concepts the show throws at you too literally.

= Overall (5) =

A well thought-out premise and concept which ended up being jammed into a catastrophic adaptation—basic outline of Sword Art Online. It's really a shame that an action-packed Light Novel franchise became a victim of today's failing anime industry. This TV series comprises of lots of story arcs which should've been ignored, but was instead included due to their rewarding of pure fan service.

There are too many trickled-down, mixed lighthearted scenes for someone to take the anime too seriously. Yet, the producer of the anime almost expects you to nonsensically. In the end, it's up to the audience to take Sword Art Online seriously or not. For one's health, I suggest viewing this TV Series as a romantic comedy with quirky action scenes and supernatural settings. Otherwise, for the real action-packed themes promised by the premise, I guarantee that the Light Novels will present a much better experience than this "once-in-a-lifetime" plebeian anime adaptation.

High school is essentially one of the most important four years of someone’s life. Throughout these years, not only does one fall under peer pressure, indecisive dramas, and separation into different clicks/social-groups, but you are often greeted with the unsatisfying feeling in overcoming mostly difficult, inexperienced tasks. However, the point of entering High School in the first place is to move onto secondary educations and learn not just fundamental cultures of others, but also about where you want to be in society for the rest of your life. During these times of hardships, not many people can gain true confidence; insecurities may rise from the ... past, make many doubtful of themselves, and as a result contemplate loneliness, violence, etc.

But what every human really desires is the understanding of others; understanding of our flaws, weaknesses, highlights, memories, lusts, hatred, emotions, intelligence, shed tears, and acknowledgement in our refined existence. In other words, we want friends, people who takes pleasure in involving us in their lives.

Established in the very High School setting, Kokoro Connect is an anime which explores the meanings of friendship in multitudes of emblematic, daring perspectives. Unlike other school rom-com anime, however, Kokoro Connect entangles its plot with dynamics by exposing the likes of evilness in characters and exaggerating certain aspects of the show to enhance not just enjoyment for the audience, but the substantiality in relationships as well. Absorbing the audiences with merely just its supernatural contents, Kokoro Connect also has a strong cast of characters to carry out its investigations of quarrels between the five trouble-children, who all happened to invest their free time into the Cultural Research Club. Of the group, the five members all embody several aspects of stereotypical adolescents. In short, there’s the nice guy who apparently always finishes first (Taichi); his sidekick, who always pursues his crush regardless of circumstances (Aoki); the tsundere female archetype who, conveniently, is a black belt (Yui); an anti-social female who brings about justice in her own elegant ways (Inaba); and, the cute klutz archetype that always brightens up the mood with her visible smile (Nagase). However, there’s always more than meets the eye.

As the story steadily progresses, a creature going by the name Heartseed mysteriously brings about supernatural phenomenon in the group meant to somehow entertain it. Indeed, it did exactly that, and more. The first arc starts with the body swapping technique, where the group is challenged to understand the physical state of others in the group, their current family situations, and not misuse this opportunity for mischief. Unfortunately, even the slightest intervention of someone into your daily life could reveal subtle yet obvious problems one has. Eventually, the mental instability of many in the group begins to disclose, but luckily, friends are there to give moral support and justify the significance of their friends. It would’ve been a simplex and sweet ending if the drama stopped there, but the injudicious Heartseed shows up again and screws everything up. From there on out, secrets of the past, dreams of the future, and the desires of the present are all exposed about each characters. Instead of hiding their fears, lustful thoughts, and ambitions, each character had to overcome their comfort zones, expose their contempt, true feelings for one another, and yet still wish for the acceptance of their friends. Since they're all teenagers exposed only recently to puberty, you could probably imagine what indecent, romantic thoughts some of these personal matters involved.

After many of Kokoro’s emotional roller-coasters, I became very attached to each of the characters. What Kokoro executes so well, not many productions can pull off easily. It develops each character into appealing people in some ways, and makes the audience so involved and invested in the emotional chaos the Series present. Perhaps due to their resemblances to realistic people, seeing Kokoro’s characters make such human mistakes and overcoming it through genuine sentiments gave me a sense of responsibility, almost as if they’re real-life, humane companions. Finally, the writers created dialogues which cleverly expressed some unique aspects of these characters and essentially, we gain our trusts of each eccentric person in the story through such techniques. For example; after several characters slowly developed aggressive, dementia-like traits due to Heart-seed's plans, it corrupted the healthy relationships between the Culture Research Club's members, instead of feeling mad or anger I felt sympathy towards the group just because of Kokoro's conventional script creations and its unhurried, deliberate pacing.

Besides these shady dramas occurring on one side of the spectrum, Kokoro Connect usually has a rather lighthearted, Slice of Life vibe to compensate for all the suffering of these characters. The entrances of some of these comedy scenes are fairly coherent due to its consistency and the lighter weight on the dramatic side of it at first. But after Heartseed’s introduction of deeper conflicts, I thought the comedy would just disappear from there or perhaps alternate into a realm of melodrama. Although Kokoro Connect inevitably executed some overly emotional scenes, the Show still managed to sneak in subliminal, dark humor and its ability to balance out the humorous yet intense sides of things impressed me. Without many spoilers, Kokoro tends to hinder at very humorous yet depraved concepts. Indeed, these comedic elements exceeded my expectation in how awkwardly situations elevated so quickly and became the most absurd stand-up comedies; yet, I don’t think I ever laughed so hard in my life. The atmosphere, set-up, and state of affairs in these jokes all achieve perfection themselves, but the fact that these jokes even makes perfect contextual sense in the script-writing smothered my mind with enlightenment.

During different times of the show where it required a certain type of mood, the animation was there to polish the atmosphere, especially with its apex of horrifying, variegated, blood dripping-like backgrounds. The character designs fared up splendidly with many embellished specialties among places where and when needed. Facial expressions and the blocking of characters also contributed to the comfortableness feel Kokoro sometimes had at first and its ability to immediately transfer that cozy texture into suspense.

The musical introduction added a nice vibe in the air with the OP, and concluded in a fashionable manner with the ED, both of which epitomizes typical, catchy, yet meaningful Jpop songs. Remarkably, the background music syncs with the elements of animation where required as well; during the committing of mischief, lighthearted music plays while dramatic, mawkish music spectacles uncertainty during climatic moments. Notably, voice actor(esse)s even gave spontaneousness and energy to their 2-D characters. In essence, the visuals and melodies ended up contributing very effectively.

All in all, Kokoro Connect, utilizing supernatural themes to its advantages, is a Series illustrating an accurate stance on the dangers and rewards of relationships. Through surreal artwork & humor it brings the seemingly two dimensional characters into life, and builds each character up with depth whilst still in correlation with the story-line. Although extravagantly detailed and over-dramatic at times, Kokoro still succeeds in coping with the balances of its several genres, and radiated powerful messages as intriguing as its provocative, headstrong humor. As an exceptionally done Slice of Life formulated Series; I recommend Kokoro Connect to anime fans who enjoys silly comedies, complicated High School relationships, and wouldn’t mind challenging themselves with the concepts of true friendship, conformity, and being true to your instinctive, romantic feelings.