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- JoinedMay 17, 2021
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Apr 30, 2024
To say that I hate Sousou no Frieren would be a gross overstatement. I pity everybody involved in this; everybody except the author.
Story: 2
Animation: 7
Sound: 6
Characters: 2
Enjoyment: 1
Total: 3
...
Sousou no Frieren has way too many issues. The pacing is abysmal, the main characters are shallow and the story is probably one of the worst I've seen in a long while.
The major issue I have with this one is mainly its theme, that of "Time". It presents itself as that tale of a shy immortal who only 80 years after traveling with the legendary party, for 10 years, realizes what she learned from that. And to do that she travels on the very same path as with the old party. To say that this is uninspired is only slightly supported by the fact that the continent is archetypical fantasy long and thin "Britain square"; same as Westeros and other countries in that vein.
But to come back to the topic of time: Every single showing of character interaction is completely juxtaposed by the time the characters apparently spent together. This was most apparent with the 6 months in snow cabin episode. I'm sorry, half-episode. The sole fact that 6 months fly away in around 10 minutes of episode with zero character development screams bad writing at me. To put that into relation: The priest Sein was only for 4 months, if I recall correctly, in the party before leaving again. Yet we, as the viewer, spent a whole episode on his joining, just to loose him later again.
Another gross example of this bad dynamic are the character relationships. Frieren spent at least 6 years with Fern before stating the sentence "I don't know what she likes" when thinking about a birthday present. The exact same later states Stark about the very same topic. Although he only knew her for less than a year by then. But, and this is the thing I absolutely hate about this series, and with a burning passion, character development does not happen when characters are off-screen. They are only allowed to develop themselves when the camera looks at them.
This is especially the worst in the final arc. The priest left the story shortly before the arc and the warrior is completely absent as he was superfluous in a mage-centered arc.
Now, I would like to focus more on the characters. And this is something that was addressed by one of the characters in-character. "Isn't it odd that we are all awkward and introvert?" You, the author, wrote it that way. You are the sole reason of why the characters have no chemistry. And this is why I do not pity you. You wrote the characters AND the story exactly that way, and you yourself took issue with it through you characters. The only saving grace of all the characters are that the side characters get actual development within the episodes they are a part of.
For the main characters, this couldn't be further from the truth. Frieren is the extremely typical overpowered mage without flaws. Unbeatable and unwavering. Even within the first season her exact mirror-image isn't capable of defeating her. Fern is the very same. Overpowered and gifted, and even probably stronger than Frieren. The warrior Start has the opposite problem. He is the archetypical overpowered coward. The priest was the only one who can be considered of being humane. But he was in the party for like 4 episodes tops. The other mages in the exam arc got more development.
The second to last thing I take a massive issue with, is the non-existent power systems and the explanation of such. Mage spells can be researched, but they can also be changed on a whim? I absolutely do not see a through-line in the system as things are made up on the spot and ignored the very next minute. This is most apparent in the segment with the magical artifact which controls souls, or mana...? I've forgotten. Either way, Frieren left the battlefield without destroying or take possession of the artifact. Whoever created it and for what purpose. Never explained.
Similarly, physics don't seem to be consistent. Warrior gets battered through an entire forest with a single hit. What does he say? "There was no force behind your strike." Boy, you got thrown through multiple trees and what-not. And then you decide to tank the next hit to the belly. In every consistent universe you would be cleaved in half. But plot-armor prevails.
Which brings me to the last point. I hate this generic Japanese-fantasy world. There isn't even a single speck of thought put into it. Every bit of it is completely generic and pulled directly from a JRPG, most likely Dragon Quest. We have character classes such as Mage, Priest, Warrior, Thief as they are pretty common in most RPGs, but only in Japan the class Hero/Yuusha can be found. Furthermore we have the in-character mention of name-honorifics. I wouldn't mind them if they are part of the voice actors to culturally appropriate a dialogue. But the sole fact that they are mentioned by the characters automatically diminishes the would building by a lot. The same goes for bows and prostration.
In all, Sousou no Frieren struggles from a badly paced plot, an ill-conceived world and characters with no chemistry. The animation felt very irregular. Often it looked fine but then it felt like the frames per seconds dropped and the animation felt choppy. But I don't think that it was that. I'm not entirely sure about that. The sound, on the other hand, is completely fine, but the mixing and placing of songs is sometimes very awkward. This is probably only notable because the characters often don't have interesting stuff to talk about and share the screen in silence, especially in the first few episodes.
Reviewer’s Rating: 3
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Apr 2, 2024
Noragami is what happens when Bleach and Soul Eater have a baby.
Story: 4
Animation: 8
Sound: 9
Characters: 3
Enjoyment: 4
Total: 5
...
Noragami is painfully average. Using existing concepts without adding anything new to the formula. Yet it fails at every corner to address missing story beats, and also fails to establish either meaning, sense or logic.
And everything bad revolves around the characters, which are clearly the crux of this story. We have Hiyori, who's cursed with living between the living and dead zone. Yukine, boy who recently perished and refuses to not break the law. And Yato, quirky and eccentric main character who can become serious fast.
And while being on the topic, and let me address this really fast, being quirky is one half of the main comedy of this anime. I understand that it should work as "playing with expectations", but after the first "quirky" scene, it becomes stale very fast, as more often than not, quirkiness runs through characters without stopping. And it never stopped. And most of it isn't even explained.
The other half of the comedy consists of insults against Yato. Insults are almost never funny, especially not direct ones.
But lets get back to the characters, proper this time. And I'll start with Yukine, because he is by far the most problematic character. First off, I hate him. He is an irredeemable asshat of a character. He's a kleptomaniac narcissist who destroys everything around him when he feels like. Apparently his death was caused by an external factor, but we never see that. Yato is the only one who saw his memories of his life and sympathized with him because of that. Even while being cursed to death by Yukine Yato still wanted to protect him, because "he is something special". But that, we also never see. What makes him so special? Except for cutting stuff, as a sword I might add, everything he does, other people can do better. This specialness is even mentioned late in the anime without ever explaining what it is.
But probably the worst part is his "redemption". I mentioned he was irredeemable, and I stand by that. His redemption was 100% unearned and only saw his way of error when he was about to perish for good. This whole theme should've been handled completely different.
Hiyori, as the human character, is very single-minded but quickly evolves(?) into an one-dimensional character. At first, she only wants to revert into a state were she doesn't accidentally exists her body. But later, she only wants to preserve the new friend group she's becomes a part of. I don't know really much about that character except that she likes martial arts? And that only really comes in handy in the early parts (and in the final episode as a gag).
And similar goes for Yato. He wears a tracking suit, no reason, got a scarf around his neck, no reason, and works everyday minijobs for 5 Yen, this at least has an explanation, but no logic behind it. And all he wants, as a god, is to build a shrine where he can be revered. What for? We don't know. Especially since other gods, like the God of Learning, all have specific purposes. As a "god of calamity" he deals with requests other gods won't do. So he purposefully chose to be the second fiddle. Or was he made for that? Or ascended to that role? We don't know.
And while writing this, it has come to my attention that this anime started when the manga was at chapter 35 of 109. Which is probably why there are so many plotholes. Not to mention that it only recently finished (January 2024). Also, the animes final two episodes aren't in the manga.
This all results in a weird and baffling experience. While one might enjoy the simplistic nature of the story and surface characters, I personally take issue in how unrealized they are. Shallow husks of persons without real ambitions except short-term goals. And in the end, it was probably the studios or publishers fault to greenlight an anime of a monthly manga still in production. Especially since material was added and changed. Still, the visuals are nice to look at, and I especially liked the background music tracks and the mixing of those.
Reviewer’s Rating: 5
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Mar 29, 2024
Ghost in the Shell: Stand Alone Complex is a classic, and for good reasons. It blends the serializes "Stand Alone" episodes with the story focused "Complex" episodes very well together. And even tho they can be classifies as serial episodes, they contribute to the world and story in meaningful ways; either through tone or details that the complex episodes revisit.
Story: 9
Animation: 9
Sound: 10
Characters: 8
Enjoyment: 10
Total: 9
...
The isn't much a have to write about GitS: SAC. The story has many twist and turns I liked, even when I feel that the story felt rushed in the end, especially the resolution.
The animation is solid and blends 2D and 3D very well together, especially for the time period it was made in. Which is kinda ironic considering the opening and how it aged so badly.
The sound has impact and the soundtrack pulls up and down when necessary.
The characters are good by themselves. The biggest issue one might have is that they are veterans and already well developed. There isn't much of character growth to speak of. For most of the time, characters excel in defying expectations of other characters. Which is one part which contributed to the tension of certain scenes.
Nevertheless, Ghost in the Shell: Stand Alone Complex holds up really well. For its age and for the depiction of a Pre-Cyberpunk-esque world. The setting is more timid and much more down to reality as one might assume from various futures featuring themes of AI, Cyborg, Mechanization and the conflicts inheriting from that setting. But it also has its well share of dark turns into the depths of the abyss of human psychology.
Reviewer’s Rating: 9
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Feb 18, 2024
Story: 8
Animation: 9
Sound: 10
Characters: 7
Enjoyment: 9
Total: 8
Migi to Dali has some interesting ideas and it doesn't overstay its welcome in the slightest. And this shifting dynamic between the story elements is what holds everything in a very good light.
But, there are some minor issues within certain sections. First of all, the second episode deals mostly with the imagination of the main cast, but everything falls prematurely flat as none of the imagination is somewhat believable. It surely makes sense in regard of the protagonists being around 12 years old, but the problem arises from the fact that it is drawn out over the whole
...
episode. Gladly, this occurrence is unique.
The other episodes are also structured with a single goal in mind. 3 and 4 are about the additional cast/friends and the further we go in, the more it focuses upon the larger mystery. This transition goes pretty smoothly, as the rest of the themes and larger structures at play. Even tho I am still not a fan about the artificial conflicts before the finale. It is a very cliche thing to do and doesn't really add any meaningful tension as 99% of the time it is resolved before the finale. Please don't do this trope anymore.
Nevertheless, Migi to Dali has a good balance between all of its aspects and knows when to dial back certain aspects to make room for the central themes. The animation can be very fluid at times, but the given story doesn't allow for more. The sound design was very notable as especially the twin theme was very well executed.
Reviewer’s Rating: 8
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Feb 10, 2024
Story: 9
Art: 10
Characters: 10
Enjoyment: 9
Total: 9
I just wish that Urasawa could actually write a satisfying ending. His previous work, Monster, also struggled with its ending, mostly due to the contrast of the protagonists and the locations inhabitants. But 20th Century Boys flops hard on that front. And its epilogue "21th Century Boys" is more like an anomaly. It clearly stands out for not following precedent structures. Its pacing increased dramatically. And the story took a very weird turn.
I wish I could only write about 20CB, but the epilogue is very much mandatory.
But let's start with the characters first. As per usual with Urasawa's works,
...
I pretty much enjoyed almost all of the cast. They all have character arcs and due to the changing perception of active event, they constantly refine themselves. And I very much enjoy this style of writing. However, there is one character were my perception radically changed due to how he was treated, and that is the first protagonist: Kenji. He was gone for the longest time, but what fascinated me most about the story is in how much impact his very few actions had. His very first scene in the very first chapter is the whole pivot the story revolves around. Without his actions, the story wouldn't happen. And that is great. And I love that.
But the biggest issues stem from the massive time skips. There are 4 major time skips. And all of them, except the last, end in a cliffhanger. And while there is purpose in those decisions down the line, one particular event left me deflated. And it was a bit before the final time skip. The mission came to an end and the final stretch could be walked on. But the vision was entirely different. Which made it actually worse? I'm not quite sure as it basically is the same thing that happened in Death Note, but it was executed less worse.
Two different aspects I also didn't like, at all, were both major plot devices to confer new information. Memory/Flashbacks, and the "Attraction". Both serve the same purpose: To give information to the reader and the characters at the same time. There is rarely any moment in the story where the reader knows more than the characters. In is always the other way around to get the reader with the reveals which mostly happen at the chapter ends as cliffhangers. It surely is a necessary tool in the manga industry. But there may be some other tools authors could utilize, especially Dramatic Irony could be used more frequently.
In total, 20th Century Boys excels with great characters and a naturally dynamic story and its progression while also exploring the limits of the premise. Especially in the later stages, it reached way to far out and overdid itself. I personally have the feeling that the final arc wasn't really planned in the beginning and tacked on later. The epilogue kinda reinforces that notion. Personally, I liked his previous work more, simply because it delved further into the human psyche and the relationships stemming from it. Additionally, the handling of plot elements wasn't executed well in most of the cases.
Reviewer’s Rating: 9
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Feb 4, 2024
Story: 6
Animation: 8
Sound: 9
Characters: 6
Enjoyment: 6
Total: 7
86 is a mixed bag, primarily made out of clashes of ideas. And this theme of clashing runs pretty much through everything.
Despite being set in the future, the architecture of 1930s Germany clashes with the 22th century it plays in. A nation, probably an AI controlled one, clashes with the humans. Even within the human country, racial tones clash with each other. And so on.
...
And while these clashes contribute meaningful friction for the story, many character heels come out of nowhere and it questions myself if I have watched everything. As in most cases I didn't felt that the context was given properly. And for how often it happens and how often I felt befuddled, it rather shows a certain ineptitude towards this style of writing. You just can't let characters lash out at other characters out of nowhere, especially when they were like best friends for most of the time, and end the aggressive monologue with "I hate you". If you hated her, then why did you spent so much time with her. You even wanted her in your department.
These character heels mostly feels like inconsistent writing to me.
In a very similar vein, the decision-making ability of certain characters is repeatably brought into question by making stupid decisions at the wrong time. This is especially prominent in the last episode, as it basically is the opposite of plot armor: plot stupidity. Furthermore, the plot stupidity very much sets up the future goal of the series and this alone pushes me away from season two as I already can guess what happens. And making your plot predictable because of plot stupidity is probably the worst thing one author can do to their own story.
When I look back at 86, I mostly see a very straight story with confused characters, not really knowing what they should say or do. At least they somehow arrived at the goal albeit being previously lost before. The animation is mostly pretty stable, even though the 3D elements didn't mesh that well with the 2D ones. The sound design, one the other hand, was very solid. And the music took over the right moments and only when it needed to. I just wish the opening wouldn't be that annoying to listen to. Those alarm sirens really destroyed the whole piece.
Reviewer’s Rating: 7
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Jan 14, 2024
Story: 2
Animation: 3
Sound: 6
Characters: 3
Enjoyment: 2
Total: 3
Koutestsu Sangokushi can be summarized simply with unambiguous. The story is very basic, and often lacks internal logic. The characters are dull and especially the main character is by far the most boring of the cast.
This anime is, at first, about 3 countries who all vie for the ownership of a powerful artifact that grants worthy people magical girl/boy powers. There is intrigue, mystery and suspense as the current holder gets assassinated and the artifact switches to an unknown owner. However this premise, established in the first episode, quickly get thrown out of the window. As episode after episode
...
new enemies try to attack the home country of the main character. And here is one of the major flaws I see with this anime. The logic behind attacking a country where some unknown population has super powers with an army of regular people, is just baffling in my eyes. And while some would argue that the artifact corrupts people, it also seems that there are a handful of people who are immune to that corruption. Upon finding that out, I would immediately form a strike team out of powered personal and conquer all other nations, if that would be the goal. But instead most plans involve sitting back or build weird machines.
And speaking of plans that don't make sense. There is a handful of characters who are completely detached from all reality. This culminates in episode 7 where a tactician from far away was brought to court to counsel the lord on how to retrieve the artifact. And that dialogue stuck in my head for how stupid it was:
"Oh, tactician from far away, what is your plan to get our stuff back?"
"That is easy. We get our stuff back."
"That is brilliant. Let's go to war."
And I wish I was sarcastic in that moment. But this style of writing is all over this anime. It is degrading and very low quality.
But it tries to hide within a shell of historical references, namely "The Romance of Three Kingdoms". Many people may know this period of Chinese history through the novel of games like Dynasty Warriors. And many events and characters are referenced in some way or another. For characters, most notably are Zhuge Liang and Guan Yu as their core designs are very reminiscent of pop culture. But we also have the ship "Red Cliff" which refers to the "Battle of the Red Cliffs" and the "Peach Garden Oath".
However, references alone don't validate on how they are used. Especially when the last episode deal with two apocalypses. I don't think that was in the novel (Romance of the Three Kingdoms).
In total Koutetsu Sangokushi doesn't inspire to be more than it's bare bones. Even with massive political scales, we don't get a reference map for over 17 episodes. Until then all was just names on a blank piece of paper. The animation is fairly boring and in a series with super powers, however ill-defined they are, there is no real choreography in encounters. They blandly slash their arms forward. At least the sound design tries to be immersive, but it can only do so much with it's atrocious writing.
Reviewer’s Rating: 3
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Dec 3, 2023
Story: 9
Animation: 7
Sound: 10
Characters: 10
Enjoyment: 10
Total: 9
Scars can heal. It is an important message this movie nails very well. Even with the minor caveat of getting positive support. But this lesson is as important as well. If your friends struggle through hard times, help them.
...
In total, I don't want to write much about the movie as it clearly best to go blind in there, as for most movies. But since it is less well known, it is far easier to go in there spoiler free.
And holy hell, the music. The Japanese songs are insanely intense. Albeit being a big generic, especially the first ones. But my opinion about them switched pretty fast as I got further into the story.
Which has some minor issues. Especially logic loopholes about the main rules and the "police chief".
But the animation here is very interesting. Since we have the story set in a digital world and the real world; both sections are very distinct. With the digital world being 3D animated and the real world being 2D animated. And here I will fully write my critique as it is fairly jarring.
The 3D digital world needs to get used to. It is weirdly contrasted and even weirder set pieces. The 2D real world is also fairly inconsistent. Most notably are the landscape backgrounds. They feel traced and a bit lifeless. And while the animation is great, for the most part. There is also at least one very noticeable rotor scoping at hand, which felt completely out of scene.
But these animation flaws can be ignored as they don't interfere with the experience in a massive way. Thus I can highly recommend this movie to everyone who loves romance and/or music-focused anime movies.
Reviewer’s Rating: 9
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Dec 2, 2023
Fallout: The Anime, or commonly known as Tengoku Daimakyou, is an incomplete ride through the pits of human savagery.
Story: 6
Animation: 9
Sound: 7
Characters: 9
Enjoyment: 8
Total: 8
...
And let's start with the story structure, by far the most interesting part. The story is clearly sectioned into two main plots: the surface, and the vault. And due to the unfinished story, these parts do not intersect in any shape or form. However, due to the nature of storytelling, it wouldn't be farfetched to say that they are about to intersect.
On the surface, we have our main duo, traveling through an post-apocalyptic Japan in the search of Heaven and two persons. On the other hand, we have the vault-children and their daily routine at school. However, as vaults are prone of experiments, nothing is as it seems. Furthermore, it seems that many sections of the story, especially the vault parts, are not in order. So the viewer has to figure the timeline out themselves. This is not bad per se, but it can be difficult for an incomplete story, as, when the next season comes out, most watches will forget what happened when in the first season.
Speaking of out of order: The anime seems to mix the timeline of the separate endings. While the surface ending is in chapter 34, the vault ending is in chapter 38. And as the manga is still ongoing, as of writing, and at chapter 59, the prospects of the next season won't be for the next year or two, due to the monthly release schedule.
Yet, Tengoku Daimakyou handled the shifting timeline fairly smooth. Mainly due to the emphasis placed on one of the key events early on.
What it didn't handle well at all, and this is solely due to the incomplete nature, are the explanations. There are so many unanswered questions and the manga isn't that far enough to even qualify for satisfying answers. Especially the post-credits scene at the very end throws another big wrench into everything, especially for how abrupt it came about. The manga is a whole lot better in that regard, but that is only due to how far it already has come.
Nevertheless, I enjoyed my time with the story and the characters. The surface duo has a good chemistry and they compliment each other very well. However, the vault children do suffer greatly from being too many. And while it is hinted at as of why (the manga explains it fully), the plethora of names is really hard to keep track of. The problem only exacerbates when a new generation of children is introduced to the vault school.
Besides the two main groups, many primarily adult, faction surround the main groups. And while the adult vault faction is mostly fine by themselves, the adult surface factions vary wildly in quality. And since the apocalyptic disaster isn't that long ago, many groups strife for the old civilized ways. But smaller factions still strife in this new anarchy, like bandit factions or an anti-prosthetic faction (which clearly was one of the weirder ones). Yet, most of these outlaw factions do have one major thing in common: an increased sense of zeal. They do everything to reach their goal, even when it means to go over the bodies of active allies. This becomes even more stranger when one considers of how certain objects arrive at certain locations. But I don't want to go to deep into that, again, because of the unfinished nature of the series.
Tengoku Daimakyou ticks off many boxes I like about anime: compelling characters, an underlying mystery, optionally paired with a deep dive into the human psyche. But the wobbly timeline creates minor pacing issues. The manga release sometimes comes paired with a timeline and the chapters is was mentioned. That alone already shows that there are problems at hand. Currently the anime doesn't satisfy with its endings. But is still has good looking visuals. The sound design is very good, but the music, except for the OP and final episode, is barely existent.
Reviewer’s Rating: 8
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Nov 25, 2023
Psycho-Pass is a very mixed bag of potential and the waste from the very same.
Story: 5
Animation: 8
Sound: 8
Characters: 4
Enjoyment: 6
Total: 5
...
And the most of it has to do with the overall plot and its resolutions.
<Obvious Spoiler warning throughout the whole piece.>
And the main problems are all the central elements. The open evil, the hidden evil, and the good guys.
First off, Makishima is a very annoying one-dimensional character. While being possibly under 25 years old, he spouts about having enough of life and the created society he inhabits. This is stupid on multiple levels. Not only does he seem to be educated in various philosophical authors, but also can overpower trained policemen, all while apparently not being able to interact normally with society. Usually, backstories for such characters are very basic and cliche, however, we were never given any background properly. Just notes on the side.
Secondly, it was stated multiple times that the government and society is only in Japan. So going overseas would easily be a solution. He seems to have the capital to do so.
Thirdly, to go back to the philosophical stuff, he is extremely reminiscent of Genesis from Crisis Core: Final Fantasy VII. He spouts about all this stuff, but effectively it is meaningless because in the end, he only commits terrorist acts because he thinks that the hand-build society is wrong. This goes even further when he's offered the chance to be in the close circle which guides the society and outright refuses. Probably because he wants to destroy it and not change it into something different.
The strange thing is, that at first, Makishima wanted to help other people become murderers as he didn't want something to suppress human desires. So, in a sense, the refusal makes sense for that character trait.
The hidden evil, however, and the one who offered the proposition, the Sibyl System, is stupid on a complete other level. Basically, it can read the potential of humans by scanning the brain waves. This goes for talents and for crime potential. And assign it a numerical value; with hints towards even more information. While this, as a concept, is fine, the execution behind it is catastrophic. Basically, the system consists of merged human personalities into an hive mind, for some reason. It was never explained why it is how it is. Or why it matters in the first place. My theory is that its sole purpose is to assign a personality to an otherwise faceless entity, without going into the AI route. Even tho advanced drones do exist. But apparently without any form of intelligence.
What bothers me most about the hive mind is, that it is pointless. Nothing was really changed by the reveal. The goals were the same and almost everybody went on as they were before. It is just shock value for the shocks sake. And not even an effective one.
And both the negatives of the bad guys culminates in the good guys. Consisting of around 6 members of the team, and supporting cast, they vary heavily in exploration of character and goals. 3 to 4 get a good focus while 2 are left in the dust. Even Akane, as the main character, isn't really that compelling. While she serves as a point of reference for the viewer, she is uncorruptable and flawless in her emotional state. Which is also stated multiple times. And while the trusts her subordinates more that her colleague, he, Ginoza, is the very opposite. Always trying to do everything by the book and always trying to please the chief, he ultimately fails because of.... I don't really know. He gets branded as a latent criminal by the system which apparently makes him unable to be an inspector. From what I gathered is the titular Psycho-Pass a quantification of the state of mind, and possibility to do something horrendous didn't fit well with Ginoza. And while he's a bit more complex than most other characters, his actions are boring. He only worries about the Psycho-Passes and not really about the well-being.
I could go further into rambling about the characters, but most of what I wanted to say is said.
In the end, Psycho-Pass is a very simple story about apparent complex things, but broken down into simple things again. Through this compression it couldn't escape into more interesting ways to express itself. The characters feel flat and the story rolled down a hill into an unambiguous valley. It feels that it didn't even try to be interesting. From its flat characters and its flat story arcs, it just feels bored of itself. Probably the worst thing is, without trying to go against the writer, is that it tries to be smart, and write smart characters, without being smart. So they just vomit a lot of possibly intelligent stuff to sound like it. But it folds on itself.
Reviewer’s Rating: 5
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