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First, a little background information. Naoki Yamamoto's 'Believers' was inspired by the Subway Sarin Incident caused by doomsday cult Aum Shinrikyo and how that led him to read a book about the Japanese Red Army (JRA), a terrorist group which aimed to overthrow the Japanese Government and start a world revolution. In this book, Yamamoto read written accounts from previous JRA members which detailed their experiences as members. The aptly named 'Believers' is essentially Yamamoto's take on what would happen if a group of people who ardently believed in a radical ideology were stuck together. The series also draws significant influence from Jonestown and its ... late leader, Jim Jones, as well as the video game phenomenon of the 90s.

'Believers' is about three cult members – two men and one woman – who take part in the “Deserted Island Program”, a program which aims to “purify” them from the corrupt influences of modern society. The characters don't use their birth names, they are simply referred to by their rank title – Chairman, Vice Chairman and Operator. Each day consists of: meditating by sitting in a triangle formation with each other's feet touching; analysing their dreams with each other in an effort to cleanse themselves of all impurities; testing their “psychic” powers; listening to their “master” through radio transmissions; and communicating their progress to higher ranking members in the cult. Celibacy and honesty are the greatest virtues while any sexual thoughts are tantamount to heresy and will see you spend a night buried up to your chest in sand to rid your body of its “poison”.

'Believers' begins as a mystery which slowly starts to reveal itself as the story unravels and the characters descend into madness. At its core 'Believers' is a romance, but to simply call it that is too reductionist. The story is filled with black comedy, drama and psychological elements. One of the recurring themes is the idea of the line between dream and reality becoming eroded over time. It is never clear whether what we are seeing is reality or the characters' distorted perceptions of reality. It is very Satoshi Kon-esque, which is one of the highest compliments you could give. Yamamoto also brilliantly juxtaposes the dangers of blind subservience with the mindless bliss of being told how to think. You want the characters to succeed, yet you also understand that their position is due to their own personal negligence. Their conflicts are as much internal as they are external. Perhaps the biggest theme is how we try to suppress human desires. In particular, sex. The role of sex is significant in all of Yamamoto's manga and thus deserves a section of its own.

Yamamoto is one of the more polarising mangaka out there. He specialises in erotic manga, so a lot of people will dismiss his work out of hand. However, the sex does serve a purpose and is not simply watered-down Hentai. Just as sex in 'Arigatou' was used to symbolise liberation, the sex in 'Believers' fills a similar purpose. I don't recall ever seeing any author, manga or otherwise, using sex as a motif as intelligently as Yamamoto does. A word of warning: granted that genitalia is either censored or obscured, absolutely nothing is left to the imagination. In fact, there is an entire chapter dedicated to nothing but sex. Unfortunately, it does eventually comes across as a little gratuitous, but try not to let this put you off from reading an otherwise good manga.

Where the story in 'Believers' falls slightly short is in its conclusion. It was almost as if Yamamoto had written the first 20 chapters without considering how he would conclude the series. In the end it felt like Yamamoto was trying to tie up too many loose ends with too little time and it all smacks of poor planning. It isn't so bad that it undermines all the good work that preceded it, but it definitely could've been handled better. One other minor gripe was the sheer amount of dialogue. There is one scene where the Chairman is explaining his idea for a script and it wouldn't be an exaggeration to say that I have never seen a page of manga filled with so much text and I probably never will again.

Moving on to the art, 'Believers' is the first manga that Yamamoto drew without any assistance and it was drawn entirely on tablet. As commendable as that is, the results are something of a mixed bag. Firstly, the main cast all look too much alike. They all have similar body shapes, they all wear the same t-shirts throughout the story, they all have very similar hairstyles (the issue is further exasperated when Vice Chairman cuts her hair), they all have similar faces and both males have facial hair. Honestly, the result is just as jarring as it sounds. This is not helped by the fact that the characters are not drawn consistently from panel to panel. The thickness of the facial hair is a good example of this, appearing so faint at times that it almost gives the illusion that the males are clean shaven. The thickness of the lines, in general, is a big problem. Yamamoto himself admits that he loves to consistently draw with thin lines, but this leads to a lack of depth in his designs. Characters almost fade into the white space of the backgrounds while lines which are supposed to represent creases in a t-shirt ultimately just look like lines. The art does redeem itself somewhat with its setting, however. The Island where the characters reside is based on the Second Sea Fortress, a small, artificial island off the coast of Tokyo Bay during the early 20th Century. Particularly, long shots are used effectively to show the detailed and pretty landscape. All-in-all, the art is just okay. Not great, but it does the job. Ultimately, Yamamoto's stories have always come before his art and the same holds true here for 'Believers'.

Whether I could recommend 'Believers' largely depends on one's tolerance for depicted sexual acts, of which there is a lot here. If you can appreciate it for what it is then 'Believers' has the potential to appeal to a lot of different audiences. Yamamoto himself claimed that he doesn't care for genres and that is one of the biggest strengths of 'Believers' – there is something here for everyone (except minors, of course!). For a manga that isn't likely to take much more than a couple of hours to complete, it may be worth the gamble.

Simply put, 'Bokurano' is about a group of children who are deceived into signing contracts which will see them pilot a giant robot, Zearth, in a deadly fight for survival against alien invaders. The catch, however, is that the robot is powered by the pilot's life energy. Regardless of the outcome, win or lose, the pilot is guaranteed to die and nothing can be done to change that. The inevitability of the characters' fates makes for a difficult and oft heart-wrenching read but one which will reward those few brave enough to see it through.

'Bokurano' can essentially be broken down into a series of story ... arcs which each focus on the child next chosen to pilot Zearth. They all follow a formula: the reader is shown a little of the characters' backstories, their motivations, how they prepare themselves during their final days and finally the fight itself. Considering there are 15 children, it would be easy for the series to fall into the trap of becoming dull and repetitive, but this is never the case with 'Bokurano'. The series does an exceptional job of developing its core cast and making each child unique from one an other. Some may be more likeable than others but all are sympathetic. Successful characterisation is achieved through a balanced mix of introspection and dialogue, effectively helping to further the impact of each character's death. The pilots aside, the most significant character is Dung Beetle, a mysterious being that first summoned the children to Zearth. Dung Beetle can almost be thought of as a guide or narrator for the series, throwing in little titbits of information throughout the series to help explain some of the sci-fi elements. Fortunately, there is enough intrigue and mystery surrounding his character that he never feels like a mouthpiece for the author. The supporting cast was largely comprised of national defence personnel and relatives of the children, and they all perfectly compliment the core cast of characters. Moreover, the role of parents in 'Bokurano' was beyond tragic. For a parent to have to stand idly by and see their children die, completely helpless to influence the outcome, is one of the most heartbreaking things you could ever see. All-in-all, 'Bokurano' should be commended for creating such a diverse and memorable cast of characters.

Just as 'Narutaru' - another good manga from Kitou - was a deconstruction of the pet monster genre, 'Bokurano' is a deconstruction of the mecha genre. That is, it looks at the practical problems that would arise from having to pilot a super robot in real life. The high chances of mass civilian casualties, the terrifying implications of failure and the massive pressure and stresses placed on the pilots are all shown as harsh truths with zero sugar-coating or beating around the bush. Most significantly, there is absolutely no plot armour. Typical mecha series leads are protected by the fact that their character is integral to the plot of the series, but this is not the case in 'Bokurano'. Anyone can die at any moment, so you are always on the edge of your seat. Now, the words “deconstruction” and “mecha” may lead some to assume that 'Bokurano' is yet another series that aimed to cash in on the success of 'Neon Genesis Evangelion' during the late 90s and early 2000s, but it must be stressed that the similarities here are superficial at best. Thematically speaking the two are worlds apart, which leads us to our next point: its themes.

One of the most famous quotes of all time, oft attributed to Joseph Stalin, is, “one death is a tragedy, a million is a statistic”. Whether it was actually Stalin who said it and whether it was in those exact words is a topic for another day, what matters is the sentiment behind those words and how the idea is explored in-depth in 'Bokurano'. Death is a regular occurrence in 'Bokurano', often on a large scale, and every pilot has their own take on it. Some of the children will aim to minimise casualties by delaying the fight until everyone is safely evacuated, others pay no mind to the surrounding population and consequently cause major collateral damage. It is an interesting play on the trope, to say the least. 'Bokurano' could also be seen as a series about accepting and coming to terms with one's own death. Each child knows that they are unable to alter their fate and how they all react to this knowledge is very different. Some try to live out their last days as happily and peacefully as they can, others mentally break down and cut themselves off from society. The themes in 'Bokurano' may be heavy but they are explored naturally over the course of the series. The pacing is excellent and allows the reader enough time to take everything in before moving on. The story never feels rushed or inorganic and it culminates in the most fitting conclusion the series could possibly ask for.

The super robot fights are secondary to the ideas of the manga itself. Just as Kitou used monsters (or “Dragons”) in 'Narutaru' to tell a coming-of-age story, super robot fights are simply the vehicle through which the themes of 'Bokurano' are explored. That said, the action sequences are still very good and fans of the mecha genre will not be left disappointed. The fights take place in a variety of locations, from city environments to military bases. The enemies themselves come in a variety of forms, from humanoid and insectoid designs to even weapons such as cannons. There are a wide array of attacks, all coming from different angles and ranges. Best of all, the strategies involved are all vastly different. Some fights are over almost instantaneously while some can go on for close to two full days, playing out almost like a game of high-stakes chess. While the super robot fights were never the focus of 'Bokurano', that they remain fresh and thrilling over the entire course of the manga is impressive all the same.

The art is generally solid. The super robots are one of the highlights of the series, varied in design and drawn on a massive scale. The designs are more abstract than your typical mecha series, resembling something closer to 'Neon Genesis Evangelion' than 'Gundam', but suit the atmosphere of 'Bokurano' perfectly. Also of note are the aircraft designs. Kitoh has something of a reputation for his detailed vehicle designs and his passion for aviation shows through with some very meticulous work. Shading, in particular, was used to great effect to create depth. Backgrounds are also well done and scene composition in general is sound. Where the art falls a little short, however, is in its human character designs. There are few distinguishing characteristics that set the core cast apart, so the characters can appear a little “samey”, for lack of a better word. Most are drawn with thin bodies and the same subdued expressions, so it takes a bit of time before one can discern between the cast. Ultimately, the artwork in 'Bokurano' may not be as awe-inspiring or detailed as what you would find in a Kentarou Miura or Hiroya Oku manga, but it perfectly compliments the mood that Kitoh was trying to achieve with 'Bokurano'.

Overall, 'Bokurano' is not a manga that I could readily recommend to anyone. It depicts a cruel, nihilistic world where children are at the forefront. It is a tragic story with some shocking content yet, unlike 'Narutaru', it never felt gratuitous. In the wrong hands 'Bokurano' easily could have been passed off as edgy trash but Kitoh handles it with a level of maturity which hadn't yet been displayed in any of his previous works. 'Bokurano' is and will likely remain Kitoh's magnum opus, his crowning achievement in an impressive catalogue of work. If you are looking for a darker take on the mecha genre then you could certainly do a lot worse than 'Bokurano'.

Revenge tragedies have proved incredibly popular throughout the ages. Shakespeare's 'Hamlet' is still studied in institutions all over the world while 'Berserk' is one of the best selling manga series of all time. 'Assassin's Creed 2' is one of the most critically acclaimed video games of the 21st century while 'Gladiator' is among the most memorable live-action films of the 2000s. Good revenge stories are filled with captivating characters, intrigue and the potential to elicit an emotional response from the viewer. Rensuke Oshikiri's 'Misumisou' fails to achieve any of this and then some. It is truly one of the worst pieces of fiction I have ... ever had the displeasure of experiencing.

'Misumisou' is about a middle school student, Nozaki Haruka, who moves from Tokyo to a small backwater town following her father's new job. Unfortunately, Nozaki immediately becomes a victim of bullying in her new school. Nozaki's trials and tribulations become increasingly severe with each passing chapter until our protagonist reaches breaking point and goes on a murdering spree. Now, the plot in and of itself is fine, if a little simple. Where the series really falls flat is in its execution. Particularly, the crux of the series' problems can be found in its characters.

The characters in 'Misumisou' suffer from the same weakness that plagued 'School Days'. That is, the characters are essentially caricatures in a series which is supposed to be based in realism. This is most obvious with the bullies. The bullies pierce Nozaki with tacks, steal her possessions, push her into a ditch filled with garbage, call her names, attempt to shoot her with a crossbow, assault Nozaki's father on school premises with tack-studded shoes, invade Nozaki's home and ultimately set her house on fire with her family trapped inside. That's not all: it turns out that Nazoki's home-room teacher is the only recurring member of staff in the series and is revealed early on to be in cahoots with the main bully. All of this takes place within the opening three chapters, no less. Their motives? They did not want the new kid to be part of their graduation ceremony. Sorry, but that is utterly ridiculous. That 14-year-old kids could commit such reprehensible acts and not feel even an iota of remorse is too outlandish an idea for any critical reader to get behind. One simply can not suspend their disbelief while reading 'Misumisou'. None of the bullies have any redeemable qualities and little effort is made by the author to provide any sort of backdrop or fleshing out of these characters. There was one instance where a flashback was shown just before one of the bullies meets their fate, but it was awkwardly tacked on, almost as if an afterthought.

Unfortunately, the rest of the cast do not fare much better. As the protagonist, Nazoki assumes the role of the innocent beauty turned killer. Nazoki's grandfather takes the role of the frustratingly ignorant relative. Aiba is Nazoki's only friend and also just so happens to be a psychopath. It may feel like these one-sentence descriptions are doing the characters a disservice, but in all honesty there is only so much one can say about what are effectively cardboard cut-outs. The mangaka doesn't give the reader much to work with: character development is non-existent and attempts at fleshing out come at a premium. In any other series, seeing the antagonists get their comeuppance would be cathartic, but not here. If the author doesn't put the effort in to making the protagonist likeable or the antagonists realistic, then why should the reader care about their fates? A good indicator of the quality of a cast of characters is how many of them you can remember by name and, in the case of 'Misumisou', it was just one. It is difficult to see any positives in what was a completely forgettable, unrealistic cast of characters. It's an extremely poor effort, it must be said.

If the characters and contrivances of the plot didn't already kill the series off then the art made sure to finish the job. Honestly, the character designs look awful. Eyes are drawn too far apart, the faces are not drawn consistently from panel-to-panel and ultimately it never felt as if the mangaka was comfortable drawing his characters. There is also a disgusting expression that the mangaka draws on all of his characters when they are angry. Needless to say, it looks more amusing than it does threatening, at least until it begins to feel nauseating due to how grotesque it looks. While the character designs were a huge let-down, credit must be given for some of the backgrounds. In particular, there is one panel in chapter three where Nazoki and Aiba are drawn as silhouettes looking up at the starry night sky. It looks stunning, so much so that it feels out of place in a manga of this quality. The mangaka also appears to have talent for drawing weapons - lots of detail went into the crossbow and pistol. These instances are rare and it doesn't make a massive difference to the overall package, but it at least saves it from attaining the lowest possible marks.

Overall, I went into 'Misumisou' with extremely low expectations and still managed to come away from it feeling disappointed. This was my first taste of Rensuke Oshikiri's work and chances are it is going to be my last. 'Misumisou' reads like an amateur's debut work, so to see that Oshikiri is an already established mangaka with a large body of work behind him came as a major shock. The characters are flat and unrealistic, the plot twists are contrived and the art is highly unpleasant, save for the odd panel here and there. I'm still not sure what message the mangaka was trying to convey, but in any event he failed. In all good conscience, I could not and would not recommend this manga to anyone.

'Witch Hunter Robin' is fairly unique as far as anime goes. It had Witches, a Gothic atmosphere, Christian iconography, realistic character designs and backgrounds and a slow, deliberate pacing intended to draw in a mature audience. It had all the ingredients needed to make it a cult classic, but it never quite took off. It would be easy to say that it wound up forgotten among other early 2000s classics being released around the same time, but I think the answer is more straightforward than that - it simply isn't a very good anime. Its strongest aspects are, without a doubt, the art and sound ... departments, so I shall look at those first.

Visually, 'Witch Hunter Robin' is easy on the eye. Simple, realistic character designs are placed against highly detailed backgrounds to good effect. The colour palette is dark, utilising different levels of grey and black to enhance the Gothic atmosphere it has going on. Lighting is used effectively to create mood when required. The action scenes also sport a good frame rate and feature some nicely integrated effects. On the whole, the art and animation is solid and remains consistent for the duration of the show without ever really going beyond the call of duty. Good, but lacks the finesse needed for it to be great.

On the aural side of things 'Witch Hunter Robin' fares equally well. The music is done by Taku Iwasaki, famed for his stellar work in 'Now and Then', Here and There' and 'Tengen Toppa Gurren Legann'. Each episode is kicked off by a fast, grungy opening and then concluded by a more reflective, somber end theme. Like the art, the background music is subdued but captures the show's atmosphere perfectly with eerie piano pieces and fast electronic beats. While the OST may be good enough to listen to in isolation, it is undoubtedly better in context. As for the voice acting, it does the job. 'Witch Hunter Robin' is a pretty mellow series, so the voice actors' range aren't greatly tested in either the Japanese or English versions. The English dub is competent, similar enough to the original script without ever being so faithful that it comes across as awkward, so you could get away with watching either audio track. Having now finished discussing the technical merits of 'Witch Hunter Robin', it would make sense to look at the bread and butter of any anime - the story.

In a nutshell, 'Witch Hunter Robin' is about a teenage girl who joins the STNJ, an organisation that hunts Witches - beings with supernatural powers such as telekinesis or fire manipulation. With the aid of the hacker Michael, the loud-mouthed Doujima, the psychic Karasuma, the rash Haruto and the mysterious Amon, they all set out to capture Witches. While the premise may sound interesting enough, it's difficult to remain motivated to continue watching when you realise that the first half of the anime is nothing but your typical "Monster of the Week" affair. The first 11-12 episodes follow an episodic format whereby we're firstly shown a murder, the STNJ then perform a little research and finally the Witch is identified and confronted by Robin and co. It quickly becomes repetitive and the only thing keeping the viewer's interest are the very limited titbits of information we gain about the STNJ members. These episodes are on the whole unremarkable and among them I can only recall one highlight - an episode where the Witch happens to be a doctor. What made that episode interesting was the added focus on the Witch himself. This insight allowed the audience to sympathise with him, unlike the other episodes where Witches are treated as inherently evil and devoid of any personality. All a little too black-and-white.

Fortunately, the episodic "Monster of the Week" formula is ditched in the second half as a plot begins to develop. Here the focus is shifted to Zaizen (the Director of STNJ Operations) and what his motives are, Solomon HQ, the Orbo, and the mystery surrounding the Factory. While all this is going on we also have a story of self-discovery where we gradually begin to learn more about Robin through a combination of introspection and her interactions with those around her, namely the STNJ members. While the second half is undoubtedly more interesting, it still suffers from its fair share of shortcomings. For one, these episodes lacked cohesion. 'Witch Hunter Robin' hopped from one idea or revelation to the next like a rabbit on crack. It made a frankly straightforward show needlessly difficult to follow and the end result was a bit of a clusterfuck. A consequence of this was just how sudden some of the twists were. The lack of sufficient foreshadowing simply makes them feel contrived more than anything else. A little more diligence with the storyboard would have gone a long way. A special mention must also go to the conclusion. For an anime of this nature the conclusion is absolutely vital, but 'Witch Hunter Robin' swung and missed completely. The whole thing was rushed and left many details and the fates of several characters unresolved. The complete absence of any sort of closure leaves a bitter aftertaste and prompts the viewer to ask as the credits begin to roll, "is that it?". Unfortunately, the disappointment doesn't end there as I am yet to discuss the characters.

If I had to describe the cast of 'Witch Hunter Robin' in one word, it would be "forgettable". How you feel about the characters during the first episode isn't too dissimilar from the last. None of the STNJ members seem to have lives outside of their work and in the end feel like pieces to help move the story along rather than genuine characters. You have the chief that always seems to be annoyed at something, the girl that's more interested in goofing off than working and the hacker guy that is rarely ever seen away from his computer. They are clichés and unfortunately they don't really break away from them. The main antagonist is laughably one-dimensional with the side and tertiary antagonists faring no better. Robin is obviously the most fleshed out given the series revolves around her, but even then she does little to endear herself to the viewer. We see her struggles and learn of her tragic past, but because the viewer can't connect with her the impact is minimal. Ultimately the entire cast seemed to lack that charisma and energy which draws us in and keeps us hooked and that is probably the main reason why completing 'Witch Hunter Robin' felt like such a chore.

Overall, 'Witch Hunter Robin' is a show which is easier to respect than it is to love. I respect it for trying to be different by appealing to the more mature, western audience. I think it was bold to base an anime around catching Witches and I thought the Gothic atmosphere it had going on was a breath of fresh air. However, 'Witch Hunter Robin' couldn't capitalise on its unique (by anime standards) concept. It was, to be frank, a complete mess. It seemed to be unsure of what direction it wanted to go in and the characters were among the most unremarkable I've seen in a while. Unless you're a huge fan of mystery or are looking for something with that Gothic vibe then I couldn't recommend this anime to anyone. I think there are better options out there to dedicate nine and a half hours of your life to watching.

Kids placed in dangerous positions bearing great responsibility has proved a hugely popular premise over the years, 'Neon Genesis Evangelion' and 'Mahou Shoujo Madoka Magica' being but two examples. It is surprising, then, that 'Alien Nine' hasn't shared anywhere near the same success as the aforementioned two. A shame, as although 'Alien Nine' hasn't had the same backing and remains incomplete, it's still a unique, unforgettable experience. One reason that people come away from 'Alien Nine' disappointed is that they aren't sure what to expect, so before I continue I need to get this out of the way.

Despite its cheerful OP and cute character designs, ... 'Alien Nine' isn't an innocent slice-of-life. The imagery is very disturbing and the events that transpire are quite frankly horrifying. The girls are constantly at odds with life-threatening alien encounters and bizarre mind-rapes, generally resulting in the main character sobbing into the ground. For all its merits, 'Alien Nine' is not an easy show to watch.

Now without further ado, onto the review!

The first voice we hear in 'Alien Nine' is that of a student counting votes. “Ootani-san, Ootani-san, Ootani-san...”, are the words spoken as our distressed protagonist, Yuri Ootani, looks on. It turns out the votes are to decide who joins the Alien Party, a club concerned with capturing aliens. Unfortunately for Yuri, the result is unanimous. Joined by fellow sixth graders Kumi Kawamura and Kasumi Tomine, they form a symbiotic relationship with their Borg and set out to capture aliens. Little else can be said without giving spoilers, but ultimately 'Alien Nine' is about how kids react when forced to grow up.

What most sets 'Alien Nine' apart from similar shows is its distinct atmosphere. Young girls are expected to deal with ghastly aliens, yet the narrative treats this as if it's normal. Regardless of the fact that Yuri is clearly not cut out for the job, she receives little sympathy from her friends, parents or teachers. In fact, her struggle is trivialised by comments like, “you can skip classes and get no homework, right?”. Even the music and cinematography seem to be against Yuri. The only ones who can see just how wrong everything is is the audience, who are helpless to influence the outcome. It's a peculiar atmosphere, but wholly effective.

Another interesting quality of 'Alien Nine' is the number of different ways it can be interpreted. It can be viewed as a scare allegory for growing up, an anime about overcoming sexual abuse or even taken on a literal level. Those who fear that 'Alien Nine' is mere shock value can lay to rest those concerns, as this is a mature story immersed in symbolism and disturbing imagery.

Unfortunately, 'Alien Nine' suffers from being incomplete. The OVA only covers 14 chapters of the manga and while plans were announced to make a sequel it has been over 10 years since, so the chances we'll ever get one are unlikely. Consequently, background information and certain character motivations are missing, and after everything the characters endure there is no emotional pay-off. While scans for the completed manga can be found online, it lacks the atmosphere that made the anime an interesting viewing in the first place. A shame, as if any anime deserves a sequel it's 'Alien Nine'.

Moving on, a big part of what makes the story successful is the characters and how they react to the situations they are put in. While the cast isn't huge it works to the anime's advantage as little time is wasted on unimportant side or tertiary characters. Given the focus is mainly on Yuri it would make sense to begin with her.

Of the three members that encompass the Alien Party, Yuri is the one most averse to capturing aliens. She is the least capable member, oft breaking out into tears when confronted by a problem. While her incessant crying may grate on some, it's important to bear in mind that Yuri is a young girl who's been forced into things she clearly isn't ready for. The torment she endures is incredible, yet she receives little sympathy.

The second member, Kumi, is perhaps the most interesting. In contrast to Yuri's over-dependence on others, Kumi is very self-reliant. Her father died when she was four years old, so was forced into becoming independent at a young age. Kumi had previously been student president for a number of years and her motivation behind joining the Alien Party was so that she no longer had to help other kids deal with their problems. Ironically, this is exactly what she ends up doing for Yuri upon joining.

The final member, Kasumi, is your typical “Ms. Perfect” archetype. She's an exceptionally high achiever that does everything with aplomb. Given Kasumi's archetype she does takes a back seat position to Yuri and Kumi, so she isn't quite as interesting. However, her relationship with her brother is a significant point in the latter episodes and adds another dimension to her character.

Outside of the main three, there's their teacher, Hisakawa. Despite her kind demeanour, there's a constant sense that there's more to her character than she let's on. Unfortunately, because 'Alien Nine' is incomplete we don't get to learn much about her. There's also Miyu, Yuri's best friend and the only character seen with the main three during their leisure. Her role is to provide Yuri with emotional support during the early episodes, but otherwise she isn't seen much. Finally there's the Borg, the aliens that sit atop the girls' heads. They aren't awfully involved, generally just mirroring their partners' personalities, but they do have their moments. Overall, the secondary characters do feel a bit under-utilised, but given the length of 'Alien Nine' one can't really complain.

The biggest issue surrounding the characters derives from 'Alien Nine' being an incomplete adaptation. It was made with a sequel in mind and without it the characters can come across as one-dimensional. There is little backdrop and what character development there is is scarce. The characters therefore feel inorganic. That is, they feel more like tools to drive the story forward rather than real girls. Consequently, it is harder for the audience to relate to and sympathise with the characters. One can't be too harsh on 'Alien Nine' for this as it seemed there was going to be a sequel, and had it materialised then this most likely wouldn't have been a problem. However, as it is it proves a weakness.

On the technical side of things, 'Alien Nine' was produced in 2001 by J.C.Staff, a studio renowned for its moe character designs. Unlike other seinen titles being released at the time, 'Alien Nine' decided against a realistic art style and instead opted for cute character designs. This deceives people into thinking it's simply another innocent slice-of-life, but the reality couldn't be further from the truth.

The girls' light, round faces with cute, disproportionately sized eyes and ears are contrasted with the dark, grotesque, insect/amphibian inspired character designs of the aliens. It's a very effective juxtaposition as it makes the events that transpire so much more disturbing.

The colour palette used in 'Alien Nine' is impressively varied. Light blue skies and purple leaves are used to paint an idyllic image of school during Spring term while the dark and grey of the alien storage room reminds us not to let our guard down. Lighting is also used to great effect – foreboding early on that 'Alien Nine' isn't what it initially seems.

For all the stick that CGI gets, 'Alien Nine' gets it spot on. The drills that extend from the Borg are genuinely terrifying and don't feel at all out of place. There isn't a huge amount otherwise, but what little there is works to the OVA's advantage.

The cinematography in 'Alien Nine' is instrumental in creating its unique atmosphere. Everything is filmed in a way that makes Yuri appear completely helpless. Low angles are used to make the aliens more intimidating while a variety of other creative camera angles are used to great effect. A special mention also has to be made for the brilliantly shot dream sequences. They felt like something you'd see in a Satoshi Kon film, and I mean that very much as a compliment.

Overall, 'Alien Nine' is a visual delight, easy on the eye and instrumental in creating its atmosphere, but what about the audio? Does it meet the high standards set by the art? Short answer no, but the sound in 'Alien Nine' still has plenty going for it.

The OP, 'Flower Psychedelic', is a comically cheerful track not unlike something you'd hear in a kids' anime. Its lyrics foreshadow what 'Alien Nine' is about, but musically it's nothing special. By contrast, 'Rebirth' by en avant is much more in key with the cruel nature of the show. It's a slow, sombre song with reflective lyrics sung over piano work - a fitting note to end each episode on.

'Alien Nine' has a variety of BGM, some subtle and some blunt. Woodwind and brass instrumentals are used often while computerised beats can also be heard now and again. Despite not being a very memorable OST, it is aided by the brilliant music direction. For example, in the first episode the Alien Fighters attempt to capture their first alien. What should be terrifying is treated as fun and games because of the playful music that accompanies it. Soundtrack dissonance is pivotal in creating the unique atmosphere felt in 'Alien Nine'.

Judging the quality of voice acting in a foreign language is never easy, but it sounded competent to my non-fluent ears. The Alien Fighters sounded as sixth grade Japanese girls should and did a good job of bringing them to life. Hisakawa's Seiyuu (who, incidentally, shares the same name as her character) did a good job at having her appear overtly kind, yet suspicious. However, I'm on the fence regarding the Borg. They didn't sound like aliens, but whether that's what 'Alien Nine' was going for I don't know. I haven't seen the English dub, so I can't comment on that.

In conclusion, 'Alien Nine' is more of an experience than anything else. It's a difficult show to watch, and I'm still not sure whether I enjoyed it, but the fact it still lingers in my mind is testament to how much of an impact it made. The biggest thing working against 'Alien Nine' is that it's incomplete, but if you can overlook that then it's a good investment of one's time. As long as one knows what to expect from 'Alien Nine' then it's usually a fulfilling experience.

The unfortunate truth of story telling mediums is that how we perceived something as a child is often very different to how we perceive something as a grown-up. The pacing issues of Dragon Ball Z and the repetitive nature of Pokemon become more apparent as a grown-up, and it's largely nostalgia that allows us to persevere with otherwise mediocre shows. This tendency to view childhood favourites through rose-tinted glasses can make it difficult to evaluate such series as there is always the possibility of painting them in a more favourable light than merited. However, every so often you may revisit a favourite from the past ... that still holds up when viewed as a grown-up. 'Digimon Adventure' (henceforth 'Adventure') is one such show.

In a nutshell, the plot revolves around seven kids (Chosen Children) who while at Summer Camp get transported to the Digital World. Each of them befriend a Digimon (digital monster) and it is their job to protect both their world and the Digital World by defeating the evil Digimon. Unlike some of its contemporaries, 'Adventure' benefits from an overarching plot which is split into four main arcs. The first arc serves as an introduction to the characters and the setting, and as such is pretty episodic. The initial repetitiveness can be a turn-off for some, but if you bear with admittedly lackluster start then you will be handsomely rewarded. Each subsequent arc manages to strike a solid balance between fleshing out the characters and advancing the plot, providing a thoroughly enjoyable experience with rarely ever a dull moment. It culminates in an emotional climax that will leave you yearning for more.

However, the plot is not without its flaws. Firstly, it's a black and white story of good versus evil with clearly defined good and bad characters, so there is very little ambiguity. This can have an adverse effect on re-watch value. Secondly, 'Adventure' suffers from feeling video game-esque. At the beginning of each arc we're introduced to an antagonist whose motivations usually do not amount to more than world domination, and it is the protagonists' goal to defeat them, each antagonist being stronger than the last. It comes across as uninspired, and those expecting more creativity will be left disappointed. Thirdly, one does not need to look far to notice dei ex machinas or plot armour. The number of times that the main cast should have been killed but manage to get away virtually unscathed beggars belief, and for the more critical fan this can be a bit of a turn-off.

Having considered the plot, it is also reasonable to look at the themes. Themes such as good vs. evil, friendship and self-discovery are all explored naturally through the events and characters. Thematically simple enough for the younger audience to understand, but never heavy-handed. Darker topics such as death, divorce and inferiority complexes are also addressed, though are never too intense for the younger ones. Dealing with a wide-range of ideas, 'Adventure' can be appreciated by everyone.

As wonderful as the themes are, the real appeal of 'Adventure' lies mainly in its characters. In particular, the Chosen Children. Each Chosen Child is very distinct with different quirks that make them stand out from one another, so there is bound to be at least one that you will latch onto. Throughout 'Adventure' they are seen individually, in pairs, as groups or all together, and seeing how the Chosen Children interact with one another is one of the high-points of the series. You could take any combination of them and the scenario would practically write itself. Moreover, while the Chosen Children are portrayed as the heroes of the series, 'Adventure' remembers that they're still kids. They're wise beyond their years, but they still make childish mistakes. This makes them feel more sincere, and therefore more relatable. Despite having a large cast, 'Adventure' manages to adequately develop all of them. They all have their own problems, their own past that's gradually explored as the series progresses, and by the end they've all matured into very different characters compared to how they had begun the series. It's also worth noting that, unlike many other kids' shows, parents play a pivotal role. Particularly, they are important to the development of the cast. This adds a greater sense of realism to 'Adventure'.

Having covered the human characters, it would make sense to look at the Digimon. They make up a large portion of the cast, and as such there is a wide variety of them. They're all drawn differently enough and have different strengths and weaknesses to distinguish them from one another. However, viewed critically there is a common fault: they all lack depth. The villains, as previously mentioned, have very simple goals and motivations, so those expecting more complex antagonists will be left disappointed. The side characters were likable enough, but it felt like their purpose was simply to aid and develop the main cast, so they get the short end of the stick development wise. The main Digimon, with the exception of Tailmon, begin and end the series having experienced no development, so they can come across as being a little bland. On the other hand, they do contribute to a lot of the humour in the series and play a significant role in the Chosen Childrens' development, so they are hardly bad characters.

As strong as the character writing is, the same cannot be said for the production values. Backgrounds were bright and colourful to the point where they appeared tasteless. Lighting which could've been used to enhance the mood of several scenes was virtually non-existent. Human character designs were extremely basic with very little detail. There were some inconsistencies with animation, such as characters who are supposed to be walking appearing static. Action scenes were simple and showed the limitations of 'Adventure's' budget. There's also some stock footage in 'Adventure', though is most prevalent in the transformation scenes. An effective marketing strategy to promote the toys, but potentially irritating for the more impatient viewer. Of the transformation scenes four of them involve CGI. Given the age of the series and its budget it was very primitive, but thankfully it's kept to a minimum. The only real positive is the diversity of the creature designs. There are dozens of different Digimon throughout the series, all unique enough that they never feel uninspired. On the whole though, the visuals were pretty gaudy and certainly the weakest aspect of 'Adventure'.

An equally significant aspect to take into account is the sound. I last watched the English dub around 10 years ago, so this section will focus on the original Japanese audio. The opening theme is 'Butter-Fly' by Wada Kouji, recognisable for his work on other Digimon scores. It's a very catchy J-Pop opening that does well to prepare you for what's to come. The ending themes are 'I Wish' and 'Keep on' by Ai Maeda, and like Kouji she has also worked on several other Digimon scores as well as being the voice actor for Mimi. They're both cute J-Pop endings, and if you're a fan of the genre then are good songs in their own right. However, background music is unfortunately not as diverse as it could be. 'Brave Heart' is the evolution theme song, another catchy tune that helps us put up with the ordeal of the transformation scenes. 'Seven' is another solid track that often added to the emotional impact of a scene. The best track, though, is Boléro by Maurice Ravel. A brilliant track that fans of classical music will love, it was implemented excellently. That's as far as the score goes though, which is a shame. Foreign voice acting is never easy to assess, but from what I could tell it was pretty good. The malice in the evil Digimon was expressed well, as was the innocence of the Chosen Children. In particular, I think Jou's voice actor did a great job of conveying his cautious, worrisome personality.

Overall, 'Adventure' is a solid kids' show that still holds up when viewed as a grown-up. What the series lacked in production values, it more than made up for with excellent writing and great characterization that continually developed. Thoroughly enjoyable from beginning to end, a series made to promote the toys should never have been this good. Whether you plan on revisiting it or are considering watching it for the first time, 'Adventure' is well worth having on your radar.

“The world is not beautiful: And that, in a way, lends it a sort of beauty”.

'Kino's Journey' is a 13-episode long TV series based on a series of light novels and directed by Ryutaro Nakamura, who is famous for his work on 'Serial Experiments Lain'. The show is episodic by nature, and it follows Kino and her motorrad, Hermes, as they travel from one country to the next in a fictional world, all the while learning of different countries' cultures and customs. 'Kino's Journey' is generally slower paced and contains lots of philosophical dialogue, so for that reason I recommend watching this alongside another anime ... with an ongoing storyline.

Given that 'Kino's Journey' is an episodic TV series, there isn't necessarily a plot or story, per se. Generally, each episode follows Kino as she goes to a different country and stays there for three days. Each country has its own different culture and customs that reflect certain societal traits in the real world. 'Kino's Journey' deals with fairly mature themes and ideas, such as censorship, war, religion and the advancement of technology and its effects. As such, 'Kino's Journey' is a rather pessimistic TV series. These themes and ideas are explored through the exaggeration of certain societies. For example, in one country an emperor had made a rule whereby for someone to become a first class citizen, they must fight other lower class individuals in a coliseum setting, where bloodthirsty first class citizens would watch for their amusement. Otherwise, the lower class would have to live under ground in a sewer setting while the first class citizens could live above ground. To me, this was an exaggeration of the social division and class exploitation that is common in many areas of the world today. Irony is also common throughout 'Kino's Journey', and it is comical in a dark, disturbing sort of way. Heck, the fact that the series is called 'Kino's Journey: The Beautiful World' is ironic in itself.

In way of characters, the only two recurring characters are Hermes and Kino. Hermes is a talking motorrad that accompanies Kino on her journey, and the reason why or how he is able to talk isn't addressed in the TV series. However, since it is common for inanimate objects and even animals to be able to use the human language in this show, we can assume that it's just a facet of their world. Hermes is definitely the less interesting of the two, and while his interactions with Kino are often thought-provoking and sometimes comical, his character lacks depth. Be that as it may, Hermes' purpose in the series is to aide the viewers in understanding or reflecting on a certain concept, so the lack of character development doesn't really hinder him as a character. On the other hand, Kino is a wonderful character and every second of screen time that she had was a joy to watch.

One reason that Kino is a great lead is that she remains largely neutral towards certain topics for the majority of the TV series. For example, unlike your typical shounen lead, Kino is reluctant to involve herself in other people's affairs, which enforces her neutrality. As 'Kino's Journey' is a series largely focused on philosophy, her approach is not only appropriate, but favourable. A second reason is because of her inquisitive nature. Kino consistently shows a keen interest in understanding the actions of others. She asks the questions that you as a viewer desire to know, which aides you in formulating an opinion regarding a topic. Lastly, Kino is a very calm and composed character. She is rarely seen as being anything other than reserved, even in dire situations, which makes her a very cool and likable character. The only criticism I have of her character is that she lacks a bit of character development. While she does benefit from a few flashbacks, especially in the prequel 'Life Goes On', and she becomes increasingly one-sided towards the end of the series, it does leave a lot to be desired.

I have mixed feelings regarding the art in 'Kino's Journey'. On the one hand, it's dark and makes great use of scanlines as to enhance its already gloomy atmosphere. However, with the exception of Kino, I didn't like how the characters were drawn at all. There was very little attention to detail on the characters' facial features, and many of the characters looked the same as each other. Even the background objects, such as houses or the interior of buildings, had very little attention to detail and were very basic. The animation, with the exception of the action scenes which were fairly well done, was about what you'd expect from a typical anime with its budget at the time.

In contrast, the sound for 'Kino's Journey' is very impressive. The OP and ED songs suit the overall mood of the anime, and are good tracks in their own right. The background music isn't overused, and is placed appropriately to add mood or tension to a scene. Ambient sounds, such as the sounds of footsteps or cocking a gun are done particularly well. Kino's VA in the original Japanese audio also suits her character well as the tone of her voice largely remains the same throughout the series, which is important for a cool, reserved character like Kino. I suppose my only real gripe is that Hermes' voice in the original Japanese audio is quite high pitched and annoying, and somewhat detracts from the show.

Overall, 'Kino's Journey' was an interesting and enjoyable watch that I would recommend to anyone that is interested in philosophy or can appreciate slower paced anime. Due to the somewhat pretentious first episode, unsatisfactory amount of character development for Kino and pretty poor art, I think an 8/10 is a fair score.

All constructive criticism is not only welcome, but appreciated, thank you.

Note: My review may contain some spoilers, but it's for the sake of getting a more in-depth analysis and cannot be helped. There will be no major spoilers, but read at your own risk.

Having read reviews on MAL and various other websites, it's plain to see that a lot of the fans were disappointed with this addition to the Haruhi franchise. I'll admit it, I loved the first season (hence why it is in my favourites at the time of writing this) and was even more so impressed with the movie, 'Suzumiya Haruhi no Shoushitsu'. But I had been putting this season off for ...
a while for one reason; Endless Eight. There's a topic in the discussion section of this anime called "Sign here if you watch all eight episodes of Endless Eight". When being able to complete eight episodes of TMoHS '09 (The Melancholy of Haruhi Suzumiya 2009) is regarded as a feat by the masses, it makes things quite problematic for people who have yet to have seen the series because, generally speaking, one would presume it to be "crap". For such a short series at 14 episodes, to hate eight of those episodes would calculate to 57%, so is everyone suggesting that only 43% of the series is worth watching? At one point, I was seriously contemplating dropping the series entirely, but after completing it, I'm so glad I chose not to. The shit this series gets thrown at it doesn't do it justice, and in my review, I hope to remedy that.

First and foremost, type in "chronological order Haruhi" into the Google search bar and click on the Wikipedia link. Scroll down to where it says "2009 version". That is how the staff have intended for their viewers to watch the series. If you, like me, watched the first season in broadcast order and have yet to view it chronologically, then this is a perfect opportunity.
Personally, I'm not a huge fan of non-linear stories, so re-watching the first season as well as the new 2009 version chronologically really appealed to me. With that out of the way, TMoHS '09 can be divided into three sections: episode 1 (Bamboo Blade Rhapsody), episodes 2 - 9 (Endless Eight) and episodes 10 - 14 (The Sigh of Haruhi Suzumiya parts 1 - 5). Keep in mind that TMoHS '09 isn't necessarily a second season, although is commonly referred to as being one by the fan base because it is the second anime entry of the franchise. Similarly to the first season, only six of the episodes are important to the overall storyline. As you may have guessed, those episodes are episodes 1 (Bamboo Leaf Rhapsody) and 10 - 14 (The Sigh of Haruhi Suzumiya Parts 1 - 5). So that leaves us with the infamous Endless Eight, which will be the first segment of the anime that I will analyse as it is the one that receives the most negative feedback.

Firstly, Endless Eight is a filler arc, so it isn't an imperative to watch it. However, I feel that to be an insult to Kyoto Animation's efforts, so I wouldn't advise skipping it. And why would you? Sure, the execution wasn't great and it could have been better, but it's still worthy of a watch none-the-less. Endless Eight is an eight episode long arc (obviously) set in the last two weeks of Summer vacation from August 17th - 31st. The SOS brigade decides to spend their last two weeks of Summer to the fullest by participating in various activities, ranging from swimming to cicada catching to stargazing. One night, Kyon is awoken by a phone call from a distressed Mikuru and is then asked by Itsuki to join in their group discussion, immediately. Upon arriving at the rendezvous point, Itsuki explains to Kyon the predicament that they are all in. That as soon as the clock strikes 12 a.m. on August 31st, they will be forced to repeat those two weeks all over again in an ininite loop, with no memory of doing so. The exception to this, however, is Nagato. She remembers all those 10,000+ times that she repeated those two weeks. Personally, I loved this concept, but quickly started to become disinterested in it. The reason is simple: it was drawn out for too long and the differences between each episode weren't significant enough to keep me hooked. Some people claim that KyoAni became lazy and started recycling scenes, but that is factually un-true. It is clear that KyoAni put a lot of effort into each scene. Although in essence you're watching the same episode eight times, there are differences in each and every episode. They include:

The clothes they are wearing;
How they decide to phrase something;
Camera angles;
Kyon may become more aware of the situation in some episodes than others.

The second point I made is the most noticeable. For example, during each episode, Nagato tells Kyon how many times they have repeated the two weeks. His shocked reaction stays the same, but the dialogue used always changes. In one episode he says,
"That calculates to... uh... 594 years."
In another episode, he says,
"That's about 594 years!"
And in another episode, it shows him actually calculating it on a phone, which surprisingly comes to 594 years.

I mentioned earlier that the main problem with this arc is that it was drawn out for too long. I can understand why they did it, though. Had it lasted only three episodes, you wouldn't have felt the same level of sympathy towards the characters the same way as you would with eight. But it could have been done just as successfully with five episodes. The first episode could have been when the problem was introduced, the third could have been the solution and, finally, the fifth episode could have been the conclusion. I think that one would enjoy this arc more-so if they are interested in film studies and can appreciate this purely on its aesthetic value. I also felt the ending to be quite... erm... anti climatic. Considering how long it was drawn out, I
feel that little effort was put into the conclusion of the arc. One thing that did impress me, though, was how Nagato dealt with the situation. She was always a calm and reserved character in the first season, but there are several points during this arc where she appears as if she's about to have a mental breakdown. Hell, her eyes tell us enough about how she must have felt. Overall, this arc can feel like a chore to complete at times, but if you think about the amount of effort that KyoAni put in to this, then it doesn't seem so bad. It was a bold and gutsy move on behalf of KyoAni, and I commend them for that. I definitely wouldn't suggest completing this arc in one sitting, though.

6/10

The next section of the anime that I have decided to analyse is episodes 10 - 14, or 'The Sigh of Haruhi Suzumiya Parts 1 - 5'. Remember that infamous first episode in broadcast order on the original series? Did you ever wonder what that was all about? That is what this arc is for. The cultural festival is nearing, and the SOS brigade have decided to participate by making a film.
In the original series, you knew that they made a film for the cultural festival, but you didn't know how it was decided, what went on behind the scenes, what conflict occurred, etcetra. I'm a sucker for things like this, when you're shown what went on behind the scenes. I thought this was a worthy addition to the season and thoroughly enjoyed this arc.

7/10

As for the first episode, I can't really analyse it without spoiling too much. Considering it's the first that you watch, you'll know whether you like it or not. All I can say is that this episode is essential if you intend on continuing with the anime franchise and is, in my opinion, the best episode on this season. It was strong for an opening episode and set the bar high for what was to come. A little too high, actually.

8/10

Animation, sound and characters have all remained pretty similar to what they were in the first season, so I don't intend on writing a huge paragraph for each of the said aspects. My only complaints are that the opening and ending songs weren't anywhere near as enjoyable as the first season's and details of facial features fluctuated. Other than that, everything was on par with the first season.

Overall: 7/10

*This is my first anime review. All constructive criticism is welcomed and appreciated.*

School Days: After watching this you'll be thankful your days at school weren't as f**ked up as this! In all seriousness though, the mental torture some of the characters have to endure is heart breaking so if you intend on watching this expecting a light-hearted love-triangle, DON'T! This is one of the more psychological romance animes i've come across meaning you're likely to enjoy this if you enjoy depressing romance animes.

Story:

The synoposis already explains the jist of the story. A love-triangle between the protaganist's childhood friend, Sekai, and his love interest initially, Kotonoha. ... What makes the story of 'School Days' different to other love-triangle animes is how it's presented and carried out. Normally, a lot of those animes are light-hearted and throw in some comedy to lighten up the mood. This isn't the case in 'School Days' and because of this I find it to be somewhat unique in that sense.

Art & Sound:

Art - It's on par with most other animes for its time. I personally liked the character designs because they made the characters look cute and suited the anime rather well (similar to Kyoto animation). The background art was also fairly good.

Sound - The Japanese voice acting was good and suited the characters pretty well. However, the opening song didn't suit the anime at all. It's a very cheerful opening and, personally, it sucked. Not only didn't it suit the anime but I found it to be lame. With that being said, the ending song wasn't too bad. Sure, you wouldn't find me listening to it on my iPod but it did suit the anime pretty well. It sounded sad and depressing and that's the sort of song an anime like this needs. Normally I listen to anime OP and ED sequences but on this occasion both of them sucked. On the other hand, the sound effects and lip syncing was well done.

Characters:

The two female protaganists aren't anything new to the genre. Infact, they are quite generic to be honest. A shy/quiet girl and an up-beat childhood friend. However, the male protaganist, Makoto Itou, is in my eyes, to be frank, the biggest douche in any anime i've seen thus far. At a first glimpse he appears to be a normal teenager in love. That isn't entirely the case. He's like a child with a toy. When they don't like it anymore, they stop using it and throw it away. I feel this is a perfect analogy to use to describe Makoto Itou. He plays with their emotions and uses the girls for his own perverted pleasures. Then, when he's bored with them, he chooses another girl to sleep with. I guess you could say Itou is "the man"! But, in all seriousness, he's the most despicable protaganist i've ever seen. Personally, I quite liked this aspect of 'School Days'. They thought of the biggest douche bag possible and chose him as the leading main character. Something I don't see too often. The supportng cast was also fairly decent. Sekai's best friend seems almost emotionless but only cares for Sakai's well being whereas Itou's best friend is a cheerful, dorky character who tends to lighten up the mood by constantly trying to impress Kotonoha.

Enjoyment:

Personally, I didn't enjoy this anime and i'm amazed that it's raked within the top 100 in terms of popularity. Why is this piece of trash so popular?

Overall:

After I completed this series, I sat down and reflected on what I just watched while listening to some music. After about 10 minutes or so, I realised something. There is a moral to this story. The human heart is a fragile thing and you shouldn't play with other people's emotions. You can't just treat girls like some sort of object and throw them away when you grow bored of them. It'll eventually come back to stab you right in the chest.