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Karekano, also known as "His and Her Circumstances," is a work by the well-known Hideaki Anno, primarily known for Evangelion. And I can confidently say it is the most beautiful piece I have ever found among sentimental anime.

As the title suggests, it's obviously about a love story between high school students. We are often accustomed to finding sentimental, school-based, or more adult-themed anime that constantly plays on creating situations that lead to the protagonists getting closer until they end up together. Karekano is one of the many cases that takes a different path.

In Karekano, the relationship between the two protagonists, Soichirou Arima and Yukino Miyazawa, ... transforms into a relationship very early on, already in the first episodes. This relationship becomes the catalyst for both characters to become aware of their own strengths and weaknesses, leading to a development that lasts throughout the work, from beginning to end.

I believe this is the strong point of the work, the fact that the relationship between the two protagonists is in CONSTANT EVOLUTION. And even when one of them is absent due to a trip, this development never stops.

This continuous evolution takes us on a journey through the lives of this couple, showing us a lot of sweetness, seasoned with curiosity and sexual attraction. One point I found particularly interesting is the continuous self-analysis that the two protagonists undergo, which almost seems to echo the trend of Japanese literary genre "shoosetsu," characterized precisely by this continuous self-analysis that the protagonist undergoes.

For example, I could mention "Kokoro" by Natsume Soseki as an example. This trend gives the anime a very introspective style where even the direction finds fertile ground, showing different styles on screen in different situations, adopting specific styles to show the characters' moments of reflection. These moments are often characterized by a manga style, where panels appear on the screen.

The visual and sound components, in general, are often used precisely to represent these emotions. Citing two examples, we see the appearance of a building complex against a horrifying red background to show the return of bad memories in a character's mind, and sometimes the chaotic sounds of the city (such as honking) are used to show the accumulation of thoughts and worries.

I believe that all fans of the medium should watch Karekano at least once. It transports you to a school environment where the dynamics of relationships between all the characters are anything but childish, showing all the complex facets that characterize relationships between lovers, friends, and even family members. And in all this, the work perfectly manages to coexist with a healthy dose of humor, which often spills over with direct references to Anno's masterpiece, Evangelion.

It doesn't matter that the work is unfortunately incomplete. Ending the work abruptly, despite the staff's visible effort to minimize the friction of this abrupt ending, which is particularly evident towards the last episodes, where Hideaki Anno is no longer directing, doesn't matter much. The reduction of this friction was successful, giving us 2 enjoyable dreamlike episodes.

As far as I'm concerned, everything that came before surpasses any other sentimental anime I've ever seen.

I watched it, and I'm satisfied, but I must say that what I encountered is a more complicated film than I thought. To the point that I don't think I'm ready to give a judgment.

Miyazaki has changed. In this film, you can see techniques that Miyazaki has not usually used, to the extent that at certain points, an untrained eye might think the film is not Miyazaki's. Where Miyazaki had accustomed us to films that, even if complex when analyzed, still offered a basic, effective, and immediate interpretation, here we have a film that is at times even confusing.

But you know what? It's a very ... interesting film, and visually, it's wonderful. I think I'll watch it a few more times.

It's not a review. I didn't take enough notes to make a decent analysis. I'll just say that it doesn't deviate much from the manga (which I personally judged negatively) and presents the same problems. However, this doesn't persist throughout the entire work.

Here and there, in the first approximately 17 episodes, some modifications have been made, but more or less the story remains the same. Towards the end, however, the work changes completely compared to the original piece, starting to conclude some subplots much earlier than in the manga, which continue until the end, and then taking a completely different direction.

The characters do undergo some ... development, nothing impressive, but it's actually there. But the most interesting thing is another.

In the path the work takes, it uses its components to address the theme of the danger associated with using religion as a tool for one's own purposes, and it succeeds reasonably well in its intent.

I can say I was also slightly satisfied with the ending, which manages to be melancholic and unsettling, but at the same time, in its own way, heartwarming.

Honestly speaking, I didn't find the work very exciting, and I also believe it suffers from a lack of originality. The characters often use the typical phrases from the series, like "Once again, I couldn't achieve anything" or "I don't want to burden anyone anymore; I want to become stronger." Even the dynamics concerning the relationships between the characters follow well-worn patterns, such as the character seeking revenge who eventually befriends one of the protagonists after realizing a misunderstanding, or the character struggling to express and understand human emotions, learning to do so thanks to another character. All of this, of course, happens without any ... meaningful additions that could make it somewhat interesting.

Some characters find themselves in situations triggering their development, but it often seems as if this primarily serves to allow the character in question to overcome a specific situation without, except in rare cases, witnessing any genuine change leading to character growth, which we only see a bit of towards the end.

The author also attempts to delve into elements related to the world of demons in the work, but, even in this case, I must say that the demon cosmology and their culture don't bring anything interesting along with them.

Regarding the drawing style, I would describe the author's style as a well-executed but somewhat mundane one that effectively accomplishes its purpose. However, I must also mention that, at times, some onomatopoeias were so large that they hindered the comprehension of the scene in the panel.

Additionally, I found the design of some demons quite appealing. I particularly appreciated the brief part of the work that brought a Western atmosphere with it, complete with demons dressed as cowboys.

With this film, Yuasa offers us a work that encapsulates the history of the conflict between the Taira and the Minamoto (although in the film, this conflict is already in the past) and reimagines the story of this conflict primarily through the language of music.

The very work from which the film is partly derived, the "Heike Monogatari" (a Japanese literary work that, in theory, should be historical, though we cannot confirm everything written within it), initially saw its spread through the tales of the Biwa Hoshi, itinerant minstrels who contributed to the dissemination of various versions of the "Heike Monogatari." The presence of these Biwa ... Hoshi is predominant in the work. One of the protagonists, Tomona, is indeed a Biwa Hoshi.

The plot revolves around Tomona and the mysterious Inu Oh, whose destinies intersect. In the case of the former, we are talking about a character who, having lost his sight, seeks to adapt to his new life by becoming an itinerant monk (Biwa Hoshi) in order to fulfill a promise made to his father, who accompanies him in the form of a ghost.

In the latter case, we have a boy born with a rather unique condition who seeks his place in the world. This becomes the common point between the two characters, as both are in search of their role in life.

Both find their place in the world through art, especially through music. This becomes the central focus of the director to delight us with his style, in which he envisions Japan in the 1100s as a place where our two protagonists bring to life a new type of theater. Yuasa blends Japanese music with a modern rock style, assimilating Western aesthetics in clothing as well. This blend, along with Western dance styles, creates a unique, elegant, and one-of-a-kind musical spectacle.

This work written by Hideo Okazaki and illustrated by Kazuo Kamimura has deeply unsettled me. It's one of the heaviest stories I've ever read, not only due to its powerful imagery but also because of the meaning it carries. "Aku no hana" [悪の華] or Flowers of Evil, or even 'Fiori del male' as per the Italian title if you prefer. Narrates the story of Rannosuke Hanayagi, head of the Ikebana school of the Kurokami clan, where floral artworks conceal a terrifying world of extreme sexual perversions. Rannosuke, right from the start, is a character under heavy legal accusation for having killed over 800 women, ... yet somehow manages to temporarily escape it thanks to his political power. Later on, the character of Sayuri comes into play, the true protagonist of the story, who ends up in Rannosuke's clutches, becoming throughout the narrative a plaything for his perverse games.

All these elements become a metaphor to address two fundamental issues. The first concerns political power, in Rannosuke's hands, which enables him to manipulate politics as he pleases, even going so far as to incite a war. He has created a dark world in which prominent figures can fulfill their most perverse desires, seeking new experiences by surpassing their limits through the use of aphrodisiacs and drugs secretly created by the Kurokami school. It's a world of which the population is aware, but nonetheless, remains ignorant. Here, the brief exploration of individual responsibility for knowing but staying silent is relevant. Even Hara, Sayuri's fiancé, leaves the newspaper he works for due to their silence about the truth concerning Rannosuke, despite knowing something. Moreover, it should not be overlooked how a cultural and artistic medium like Ikebana becomes a tool in the hands of the powerful. In the story itself, the hierarchical structure of the Kurokami school is likened to that of a mafia-like caste, but as the story itself emphasizes, the former survives.

However, the most intriguing aspect of the work, in my opinion, is how its authors aimed to confront the issue related to the patriarchal society and its power over women's lives. Right from the start, it's noticeable that the art of Ikebana is primarily taught to women since being able to beautify one's husband's home is deemed a virtue worthy of a good wife. It's precisely by embarking on this path that Sayuri ends up in Rannosuke's clutches, as if the authors intended to caution female readers against pursuing a predestined path set by the ruling class, still tied to conservative values that deprive women of their autonomy. Rannosuke exercises complete control over Sayuri's life, even extending to managing her sexuality. The girl will suffer numerous sexual abuses that increasingly deconstruct her once-pure image as a woman about to marry the man she loves, who himself falls into Rannosuke's grasp, becoming a puppet whose desires are controlled by his tormentor. Rannosuke also commands a group of school women entirely loyal to Kurokami's perverse philosophy, even willing to die for it. Furthermore, he merely snaps his fingers to repudiate his wife Akane, of whom he's grown weary.

"Aku no Hana" is a disturbing work through which its authors shift the focus to a dark world concealed from public view, where those within have the power to control every single aspect of citizens' lives, and where power holders exploit their immense influence to act beyond the law and fulfill their perverse desires. They're willing to commit even worse atrocities to maintain their status.

I had the opportunity to immerse myself in the world of Osamu Tezuka through his work "Shinsengumi," and I can confidently say that this experience will stay with me for a long time. Set in an environment revolving around a Japan divided between the power of the Shogunate and the followers of the Emperor, Tezuka paints a compelling story rooted in the conflict between these two factions. The narrative takes place in a historical period marked by the debate over the opening to the West that occurred in 1853, a matter that deeply divided the nation.

The protagonist of this story is Fukakusa, an individual who ... joins the Shinsengumi, the armed force of the Shogunate supporters, driven by a thirst for revenge for his father's death, killed by a samurai from the opposing faction. Throughout the work, Fukakusa undergoes two fundamental developments: on one hand, the refinement of his swordsmanship skills, and on the other, personal growth that leads him to mature through the gradual awareness of the world of the samurai, a world often culturally idealized.

Fukakusa's entry into the world of the Shinsengumi, which includes numerous historically real characters, offers him the opportunity to make new acquaintances. In this context, the protagonist comes into contact with positive figures, each in their own way. However, he also discovers individuals of dubious morality, revealing that many samurai were far from being bearers of honor. This experience forces him to confront his own desire for revenge, a sentiment he finds shared by others, but one that also leads him to reflect on the consequences of this impulse once fulfilled.

Fukakusa's liberation from this vicious cycle only occurs when he becomes aware of the vastness and diversity of the world around him. This revelation is facilitated by a member of the opposing faction, who, through the sharing of books, enables Fukakusa to adopt a more positive and open perspective towards the West.

The work "Shinsengumi" somehow reminded me of the emotions evoked by films by Masaki Kobayashi, known for cinematic works such as "Harakiri" (1962), "Samurai Rebellion" (1967), and "The Human Condition" trilogy (1959-1961). Just like Kobayashi, Tezuka also critically addresses Japan's past, in this case, the strict code of the samurai, often steeped in hypocrisy. In this manga, Tezuka adopts a unique style that draws upon influences from Disney cartoons, thus creating a distinctive visual and narrative experience.

"Shinsengumi" is a captivating work that deeply explores the world of the samurai in a divided Japan. The protagonist's growth, discoveries, and challenges offer a critical and insightful look into a historical period filled with tensions and dualities. Tezuka's distinctive approach contributes to making this work a notable literary and visual experience that I doubt I will easily forget.

Shuumatsu no Izetta, also called ''Izetta the last witch'', but whose original title would read `` The end of Izetta '', is an original animated work of 2016, created by the studio Aija-Do, directed by Fujimori Masaya and written by Yoshino Hiroyuki. An anime belonging to the action genre in which military and historical elements converge, the latter in particular linked to a fictitious Second World War in which the world and the events that make up its history are slightly different from ours. In all this, someone could also say that in its own way there is also an element that, in a slightly ... out of the ordinary way, is placed in those that we usually find in works are known under the name of Mahou Shoujo. Mainly converging in the protagonist, mostly covering her aesthetic component, which somehow well embraces the military style.

It is a work that starts with excellent conditions, but that starts quickly and is lost just as quickly.
Even if it starts with some action and frenzy, don't expect to find yet another action anime with a paramilitary style. it is a story that is told from the point of view of those who during a war find themselves, among the highest levels, managing not only the course of the war, but also the destiny of their country.Furthermore, in a world where magic is exists, but where this is now on the verge of disappearing, and the only one to continue to hold it is one of the two protagonists, the witch Izetta, the only weapon, perhaps, capable of restoring peace. But as mentioned, the work will not be characterized much by frenetic moments and fighting to the death, but rather focusing on other fundamental elements in wars, namely propaganda in the first place, but also a little bit on espionage.
Izetta is not just a girl with enough power to defeat entire armies on her own, she is a deterrent. A weapon to be used sparingly, and whose weaknesses must be avoided.
In this last point in particular, the question of espionage, the importance of obtaining information and the importance of protecting one's information immediately comes into play. Connecting us to this, the work sometimes shows, with a moderate crudeness, but without too much nihilism, dirty and not very honorable actions that some people, spies, politicians or kings, are forced to carry out to protect their own people. The condemnation of the individual, even a cruel fate, for the good of the community. Whether it be right or wrong, is something that is always pleasant to tell.
However, the work does not maintain the good premises, and finally lacks a bad management of the rhythm of the narration, the lack of elements that can stimulate the interest of the viewer, moments full of clichés without any kind of intelligent use of the same, but above all a lack of psychological depth of the characters, who are from the beginning to the end of the stereotypical specks that have nothing to offer. In 90% of cases this lack also has an aesthetic impact on the character design.
The two protagonists are totally reduced, in the case of Finè, to the classic noblewoman with her country on her shoulders who is ready for anything to protect her people, and courage alone is not enough to give depth to a character.
Izetta instead, the only and last bearer of magic, shy but determined, and even if she turns out to be a very strong woman unfortunately whose actions end up being for the character to be perpetually in the shadow of her friend, Finè. Although the attention of the people and her enemies will mainly be directed towards her.
Between the 2 there is also a friendship relationship which in reality turns out to be an almost loving relationship in several points, but which in addition to sinning thick will do nothing but give us 2 sweet moments, which in any case turn out to be very muffled. Especially the last one.
The secondary characters have the same problem, and the antagonists themselves suffer from it. One of them is clearly a reprise of a well-known German dictator very well known to us, passionate about occultism and aimed at expansionist aims. But he too will not be particularly memorable, limiting himself to appearing a few times and commenting on some events of the war.
A secondary antagonist is present later, whose origins and reasons would also be interesting despite the lack of originality, but he will appear little and do just as little.
At the end we also find yet another, but always pleasant, condemnation, typical of several Japanese works, of the use of the atomic bomb, which in the context of the work is more or less effectively linked to the fantasy elements that compose it.
On the technical side, there is nothing particular to say. On the animation side, above all, I did not start out hoping to find myself in front of an author's work that would exploit the artistic potential of directing to aesthetically enrich the narration. Like most of the anime in this category, on the other hand. And in fact this was not the case, but in this case it is not a defect, only a feature, or a choice if we want. Although, I just remember a shot right in the last episode that prompted me to pause the episode for a moment to better contemplate it. Pretty, but nothing memorable.
Despite everything the animations do their job well and I don't remember any particular problems other than a rather '' strange '' run of a particular character in the last episode. If my memory serves me correctly then there are no relevant problems on a technical level.

On the sound side, I can't say that I remember any memorable soundtrack or that manages to enrich scenes.

In conclusion it is not a work that I would recommend, but I certainly cannot label it as insufficient, above all for the not really common idea of ​​elements of war such as propaganda and espionage. But his bad management of the narrative certainly does not help him, like the characters of the rest.
However, some will certainly find it enjoyable to look at