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Jan 23, 2022
Creative writers often give this piece of advice: allow your characters to struggle. Let them lose important battles and hit rock bottom. The Empire Strikes Back uses this to great effect, as does the Book 2 finale for Avatar: The Last Airbender.
For better or for worse, Banana Fish takes this concept and dials it up to eleven. Characters SUFFER. People drop like flies in this anime, and if they don’t drop like flies, they get seriously wounded, physically or emotionally. They also never get a chance to heal, because the plot hits the ground running and never stops.
On one hand, this is great because it
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provides an exciting plot and forces you to invest yourself in the characters, even if it’s only because you desperately wish for the poor kids to catch a break for once. On the other hand, this results in an emotionally exhausting anime that is not for the faint of heart.
For me personally, the latter is not a problem. However, I have one related problem, and that is suspension of disbelief. The point of having characters suffer, at least from a writer’s perspective, is to show that they’re not overpowered. However, the main character, Ash Lynx, is one of the most overpowered characters to exist outside of the isekai genre. Yes, it’s repeatedly mentioned that he has an IQ above 180 and has been trained as an assassin from childhood. But still, he’s a seventeen-year-old who can hack like a pro, lead an entire gang in downtown New York, be the best shooter around, write research papers worthy of PhD students, and have time to keep up with all the newspaper columns in major NY papers. He also seems to have unlimited ammo (except in the final episode), be immune to drugs (or at least anesthetics), attract every homosexual pedophile to lay eyes on him (I don’t find his design remotely attractively, personally), withstand multiple gunshots (just because?), and run through fields of bullets without getting hit. For me, it’s hard to take a grittier anime like this seriously when the main character is so clearly unrealistic.
Another point which hampers suspension of disbelief is the setting. Banana Fish is adapted from a manga of the same name, which was released during the 80s. However, the anime adaptation chooses to move it to the present and gives everyone smartphones, etc. The change in time period also changes the political landscape, which in turn changes the story, which hinges on political power. To its credit, the anime’s version makes ends meet, but it still comes off awkwardly in a few places.
And the last thing which hampers suspension of disbelief (at least for me): the lack of an English dub. Don’t get me wrong, I love watching things in Japanese, and I think Banana Fish’s voice cast is great. But I struggle to suspend disbelief when everyone is speaking Japanese in the New York slums. The anime goes out of its way to have metro announcements and other mechanized voices in English, and one of the Chinese characters even speaks in Mandarin once. So how can I take it seriously when Ash says, in Japanese, that he’d like to learn Japanese one day? There’s even a scene where Ash is learning Japanese from the other main protagonist, Eiji, and they’re speaking to each other in English but writing things down in Japanese…? It’s meant to be an emotional scene, but my suspension of disbelief cracked and I just couldn’t take it seriously. And due to the points I’ve outlined, that’s how I felt about the anime as a whole. I just couldn’t take it as seriously as I wanted to.
There’s a lot to love about Banana Fish, though. Like I said before, the plot is fast-paced and captivating. The stakes are (generally) high; the feelings of grit and desperation are palpable. Most of the characters are very intriguing from a psychological perspective, and the relationship between Ash and Eiji is beautifully expressed. Although there are some annoyingly bland characters (cough, Arthur), there are also some excellent people in the cast, and excellent chemistry as well.
Visually, I think MAPPA did a good job. The character designs feel slightly retro, but have been updated from the manga designs to fit the current look of anime. The animation is solid throughout as well. And while I’m personally not a fan of the soundtrack, I think both OPs and EDs are great.
If Banana Fish had an English dub (and a good one, mind you), I’d give it a 9, but as it is, it stays in the high 8 range for me. It’s exciting and compelling, but the small stumbles concerning character and world-building prevent me from thinking of it as a true masterpiece. Still, I recommend you give it a watch—if you think you can survive the emotional trauma, that is.
Reviewer’s Rating: 8
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Jan 21, 2022
I admire Hunter x Hunter for a lot of things. I admire the way its plot arcs boldly switch genre and vibe, from generic video-game to gritty crime thriller and more. I admire how the show can drop (or even kill) important characters. I admire the striking use of a narrator, who interacts with the story more than you’d expect. I admire the creativity of the world, and I especially admire the creativity channeled through Nen, one of the best, most consistent and complex shounen power systems I’ve encountered.
Yet, these things for which I admire Hunter x Hunter so much also make me dislike it.
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Hunter x Hunter just doesn’t behave like a normal story. Characters you want to learn more about disappear for dozens of episodes at a time. The narrator becomes overused and insufferable at many crucial moments. Plot and pacing inconsistencies abound thanks to the constant shifting of genres. Even bits of world-building end up being inconsistent as the story continues on. It’s clear that Yoshihiro Togashi, the creator of Hunter x Hunter, didn’t plan ahead for much of the story, and that results in something that is both refreshing and annoying.
For me, Gon and Killua were what held Hunter x Hunter together. The true deuteragonists (the other two in the poster are only relevant at first), Gon and Killua’s friendship and character developments kept me coming back for more. Although I find the in/famous Chimera Ant arc frustrating and ultimately unsatisfying, I love the development it gives both the mains. Even though both characters suffer from serious plot-armor/invincibility and are never in any serious danger, I grew to love those boys to insane degrees and my heart started breaking whenever things didn’t go well for them. Still, I found the other characters (and even many parts of the world) to be hit-or-miss. Gon and Killua were worth it for me, but two little boys aren’t always worth 148 episodes.
So does anything else make those 148 episodes worth it? Depends. As I’ve already implied, I find the plot to be hit-or-miss. The world-building fares slightly better, but still ends up being inconsistent enough for me to think of it as hit-or-miss. Meanwhile, though, the art and animation fare incredibly well. I’m not sure how Madhouse did it, but all 148 episodes fly by without a noticeable drop in quality, which I find hugely impressive. I also think the soundtrack is phenomenal, though a somewhat acquired taste. Much of the score is borrowed from classical music, from Mozart to Stravinsky’s “Rite of Spring.” The scoring choices are so unique and nuanced, I’m pretty sure I could write an entire dissertation on Hunter x Hunter’s score. And of course, the Japanese voice cast is amazing. Mariya Ise is simply incredible as Killua.
I don’t think Hunter x Hunter is a masterpiece as its current MAL score might imply. But, I do think Hunter x Hunter is a very special anime. Is it worth 148 episodes? For me, yes, but not for everyone. If you like world-building and are seeking something that doesn’t follow the tried and true storytelling mechanics (and like a good, long, bittersweet epic of friendship), Hunter x Hunter might be up your alley. Otherwise, it’s probably not worth its episode count.
Reviewer’s Rating: 7
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Jun 20, 2021
Vivy: Flourite Eye's Song is popcorn entertainment at its finest. With impressive action setpieces, gorgeous visuals, a phenomenal orchestral soundtrack (with decent J-Pop!), grit, and even a few surprisingly emotional scenes, Vivy is easy to consume and get hyped over. I imagine it would be great to binge over a few days, too, since it's only a single cour.
The thing about Vivy is that, for better or for worse, it is not much MORE than popcorn entertainment. AIs vs humans: check. Time travel: check. Main character amnesia: check. These are tropes that define much of modern sci-fi, and Vivy is built on them. It tries
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to bring in loftier themes, like the recurring question of "what it means to sing from the heart," but clumsy execution (the question is mentioned at least once an episode with no resolution until a few minutes from the end) makes these themes feel thin and somewhat pointless. The time travel mechanic is sketchy and inconsistent at best, and the main characters never seem to be in any danger (the deuteragonist, Matsumoto, "dies" once an episode in the second half only to magically be revived a few minutes later). As a story, Vivy crumbles the moment you start thinking too deeply about it... which isn't bad for popcorn entertainment, but is for something that tries to be more.
On one hand, Vivy provides maximal satisfaction for the eyes and ears, so it's very easy to forgive these shortcomings through flashy visuals (though for me personally, I found the switches to the airbrushed art style to be too jarring, albeit pretty). On the other hand, there are larger, more fundamental issues that weigh Vivy down. The story's pacing is questionable, not just because 100 years pass in 13 episodes, but because a 3-episode amnesia arc occurring during the second half forces both story and character progression to meander. Plot threads are explored for several episodes, then resolved too hastily given the amount of buildup. Characters come and go too quickly to receive more than tropes for personalities, except the main two, who are fun to watch but little more than conglomerations of cliches. Several crucial parts of the plot are glossed over without explanation, and the ending only occurs thanks to a cheap copout. So even though I am all for aesthetics, and even though I enjoyed watching it all the way through, I feel like Vivy lacks the internal consistency and storytelling it needs to be truly great.
Grab some popcorn and sit back if you're looking for some beautiful-looking/sounding, fun, and gritty action you can turn your brain off to. If you're looking for something insightful and well-written, though, I suggest you look elsewhere.
Reviewer’s Rating: 7
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Jun 14, 2021
Yagate Kimi ni Naru is the kind of anime that needs a second season. In my opinion, the reason for that is not, "omgggg this is the greatest thing ever and I need more!!" but rather, "This needs more content in order to become truly great." This is a romance, but the anime ends before we can see the relationship fully unfurl. There are romantic rivals and interesting side characters, but the anime ends before we can draw any conclusions about their characters beyond one-dimensional one-liners like, "That's the aromantic one" or "That's the straight-as-heck class clown." A plot-driving force appears partway through, but the
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anime ends before that force sees resolution of any kind. Notice the pattern?
There are some things that make Yagate Kimi ni Naru truly wonderful, especially to someone who identifies as ace/aro like myself. The main character's struggle to understand romance and juggle that confusion against cultural expectations is well-paced, well-executed, and relevant. The aromantic classmate is accurate to a fault and the kind of person I'd like to see in more of anime. The healthy, adult lesbian couple is a heartwarming and comforting addition to the cast. And the main character's love interest, Touko, is a fascinating mixture of strong feelings and unhealthy behaviors. In a drama such as this one, I think it's important to show both the beautiful and potentially toxic parts of relationships, and Yagate Kimi ni Naru isn't afraid to reach for this.
That said, I felt that everything else in the anime was lacking. The visuals were beautiful, but the persistent orange hue became exhausting, and the visual metaphors became painfully ham-handed at times. On a similar note, I felt the plot-elements became ham-handed in their relevance to the themes; for an anime that boasts such realistic and grounded mains, the plot became extremely contrived at times. The voice cast was fine, and the score serviceable but unmemorable.
So in all, I think that Yagate Kimi ni Naru is fine. Am I intrigued enough to pick up the manga and see where these characters and relationships go? Possibly. Will I ever rewatch the anime? Probably not.
Reviewer’s Rating: 6
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Dec 29, 2020
Munou na Nana is like a kid running around with shoes that are too big for them. There's a lot of ambition and potential for greatness, but because the target demographic is shounen (aka young boys), ham-handed storytelling and dumbed-down concepts prevent the show from properly filling its own shoes.
Let's start with the story. You might see comparisons to Death Note, for the cat-and-mouse game between a murderer and a detective (the frequent monologues amidst red Bad Guy and blue Good Guy filters also applies to both shows). But contrary to its critically renowned cousin, Munou na Nana's plot twists miss their mark just as
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much as they hit them. Some of Nana's schemes are brilliant; others rely on a laughable amount of plot armor. Characters whack viewers over the heads with bloated summaries of what has happened, what might happen, and what will happen. The show's a prisoner to its target demographic; it thinks everything needs to be simple and over-explained for its younger audiences, and shoots its own feet in the process.
The world-building (or lack thereof) is also worth noting. When the manga was first coming out, many people dropped it because the setting seemed stupid and inconsistent—I suspect the same thing happened for the anime. Eventually the audience realizes these inconsistencies occur because the narrators are unreliable, misinformed children... but it takes a long time to get there, and they only touch on it by the season finale. If this gets a second season, I suspect people will like the plot and world-building more, as the pieces fall into place. But the anime hasn't gotten to those points, so it's not worth noting here.
The characters suffer the same as the plot: they're filled with potential but are held prisoner to the shounen label. Nana is deliciously twisted, but also a lost and horribly manipulated kid. While her character development is slightly rushed, it's ultimately done justice. Everyone else is a mixed bag, mostly because of the sheer stupidity they display while Nana gets away with her schemes. Usually, the kids' stupidity is thanks to naivety mixed with some sort of psychological complex, so it's not completely impossible to buy... but you have to suspend your disbelief quite a bit at times.
Art and sound are where I think Munou na Nana suffers most, but more so in direction than actual quality. The art and animation aren't stellar, but perfectly fine and definitely not bad-looking. Similarly, the score, voice-acting, and OP/ED are perfectly fine: great in some parts and unmemorable in others (Though, I will say I am extremely partial to the ED. I think it's the best ED of the season with Jujutsu Kaisen's). However, I think the visual and voice-acting directions for Nana are far too heavy-handed. Whenever Nana is plotting something, her eyes go blank, she puts on her super-crazed evil face, and her voice drops at least half an octave. Sometimes it seems like the characters notice her making weird faces (as they should); most times they don't, which makes you wonder if it's happening at all in their reality, or if it's just a stylistic choice to help confused watchers along. Whatever the case, I think it's completely unnecessary, and hurts the show more than it helps.
Ultimately, Munou na Nana is just as flawed as Nana herself. There are some brilliant moments, and some surprisingly emotional ones as well. But, you have to wade through a lot of ham-handed storytelling to get there. I was able to turn off my brain and simply enjoy it as whacky popcorn entertainment. But if you prefer tasteful storytelling and figuring out things on your own, I'm afraid Munou na Nana isn't for you.
Reviewer’s Rating: 7
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Dec 27, 2020
If you're familiar with Jun Maeda's original works like Angel Beats and Charlotte, you probably know that Maeda has a certain... reputation. Comedy slice-of-life meets extreme melodrama, emotional potency, and a bittersweet ending. Pacing is always all over the place, humor is offbeat and usually doesn't hit the mark, and plot logic never holds up to serious scrutiny. Yet, we (or at least I) continue to watch his shows, partially out of curiosity and partially to see if he can get us to board the Feels Train despite his less-than stellar storytelling habits.
Kamisama ni Natta Hi is exactly what I expected from Maeda. There are
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some beautiful scenes, and the ending is relatively bittersweet (though notably happier than some). PA Works makes it all look pretty (in particular a certain egg-cracking scene, for some reason), and the main insert song used for the feelsy scenes is stuck in my head. But as expected, the pacing is all over the place (which shoots the characters in the feet), and the humor is extremely random. Also, for most of the show, I couldn't tell what Maeda wanted the show to be. Sometimes it masqueraded as a ridiculous sports anime; other times a cooking show. At the very least, it surprised me every week, so I guess there's that.
I will say that the big plot twist was relatively predictable, which I actually think is a sign of good writing. One of my biggest peeves with Angel Beats is that the final revelation makes no sense chronologically, and thus cannot be predicted. On the other hand, Kamisama ni Natta Hi sets up the elements and follows them to their logical conclusion, which I appreciate.
Overall, Kamisama ni Natta Hi is what you should expect from Maeda: good in some places and annoying in others. I don't regret watching it, but unless you're a Maeda fan, your time is probably better spent on something else.
Reviewer’s Rating: 5
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