During whichever week this belongs to: complaints on the detective/mystery work in Danganronpa, how Index continues to undermine Misaka’s character in To Aru Kagaku no Railgun S, excitement over distinguishing Fu’s character in Tamayura ~more aggressive~, and a slight but refreshing and welcome change in Monogatari Series Second Season.

Best episode of the week: Monogatari Series Second Season

Anime trending up this week: Tamayura ~more aggressive~

Anime trending down this week: To Aru Kagaku no Railgun S

Danganronpa the Animation (Episode 2)

Although I don’t have much in the way of complaints with Danganronpa thus far, I do feel the need to voice my disappointment with how the anime is handling the material between the murder and the trial.  In the game, this time is intended for the player to create a foundation before going into the trial: to hunt for clues, to gather evidence and to begin to construct an idea about who the murderer might be based on how they interpret the material before them.  This process allows the player to understand the case before them.  In the anime, it’s pretty much glossed over with a quick montage of characters finding items for less than a minute and off to the trial!  I figured that translating this material from the game to the anime would be difficult, but I never thought it’d be painful or meaningless like this.  Instead of creating value or meaning behind the items picked up, the anime just gifted them to us without requiring or stimulating any thought or perception.  Rather than actually letting us connect the dots, the material was literally thrown at us.  It’s like the anime wanted to avoid this perceived down time and tried to minimalize it as much as possible.

And since I never like it when someone complains about something without offering their opinion on what would make it better, my thoughts on the matter could go in either two directions to improve this aspect of Danganronpa.  First, the one I’d prefer of the two, would be to show the characters searching for clues but to not explicitly show the items being picked up.  Since the anime wanted to gloss over this section quickly, why not have Makoto standing over a dead body, make a remark about some evidence without stating it explicitly and then move on, only to finally present it during the trial.  In this situation, the anime isn’t teasing us or giving it to us effortlessly but instead, puts the sleuthing solely on the characters rather than the viewers.  The second option would be to spend more time on the detective side of the story; to have the characters talk and think through the evidence they’re gathering and attempting to build a case before the trial.  In this situation, it uses the characters and the evidence together to help guide the viewer in the murder mystery.  Either of this changes would shift the perspective of the detective work and the mystery significantly, clarifying the issue of how the audience is supposed to perceive their role in the murder mysteries of Danganronpa.  Right now, the material between the murder and the trial is handled awkwardly in Danganronpa, giving us a minimal amount of detective experience and a quick overview of the evidence about a minute before heading to the trial.  It could be significantly improved with a little more care, so hopefully the anime will learn from its mistakes and go in one of these directions in future episodes.

Gatchaman Crowds (Episode 1)

Is it a bra and panties or just some fancy, frilly two-piece swimsuit?  The clothing choice for Utsutsu in Gatchaman Crowds is definitely the eye-candy of the series, but rather than enjoying her for her shameless sex appeal, I find myself curious about what exactly she’s wearing.  Given just the appearance of her clothes, the shape, style, cut and color, I originally thought she was walking around comfortably in her underwear.  However, when Hajime meets Utsutsu, she comments on her clothes and calls it a swimsuit.  Now correct me if I’m wrong, but you usually don’t see a garter paired with a bikini, nor is it common to see a bow on a top.  Then again, it’s not like it’s impossible given the variety of styles of clothes seen in anime, especially for one like Gatchaman Crowds.  Perhaps the only way to answer this question, underwear versus swimwear, would be if the series was kind enough to focus on Utsutsu more and provide more of her in terms of screentime and detail.  I’m sure I’m not the only one who would appreciate such a change, even after we settle the whole bra and panties versus bikini paradox.

Genei wo Kakeru Taiyou (Episode 2)

One thing I don’t get about the new school in Gen’ei wo Kakeru Taiyou is… why is there a new school?  The entire student body of Sephiro Fiore, the combat unit of tarot card using magical girls covering as a school for lolis with disproportionate heads, is an astonishing 6 students, which increases to 9 if you include the trio of Tendou sisters (but let’s not include them, shall we?).  What’s the point of this school exactly, especially if all they’re doing is taking the same classes as regular students with nothing in the way of training for combat?  Why not have these various girls attend their regular schools and call them together when there’s an emergency or something?  It doesn’t make much sense to set up an entire school for half a dozen students, especially when their courses are perfectly normal like music, PE, and chemistry.  It doesn’t seem like the girls are doing anything special there than besides building their own chemistry together, but couldn’t they be doing this as an after-school activity or some special club?  Or better yet, Sephiro Fiore should integrate combat, tactics and magical girl history into their curriculum, alongside the likes of mathematics and literature.  Regardless, I do enjoy the aesthetics of their school more than the cookie-cutter designs of Japanese schools and it does have a dormitory for the girls to live in, so it’s not like I completely hate the new setting of Gen’ei wo Kakeru Taiyou, I just question its purpose as a school for these girls.

Monogatari Series Second Season (Episode 2)

Unlike the previous anime in this franchise, an impressive collecting spanning Bakemonogatari, Nisemonogatari and Nekomonogatari, this new season of Monogatari has been devoid of its protagonist, Koyomi Araragi, and given the series a refreshing change of perspective that bodes well for the series moving forward.  Whereas the previous three series repeated the pattern of Koyomi aiding a female character with her particular quarks, a pattern that was growing weary and tired after such frequent and constant use, Monogatari Series offers the series through a different perspective in that we’re seeing what happens when Araragi isn’t around.  That’s where I find the charm and enthusiasm in this new anime.  Rather than having Araragi bike around town and talk to various girls in one-on-one conversations, we’re seeing the story through the eyes of the affect girl and seeing how she lives with her problem.  It’s a fascinating turn of events and one that I wish had occurred earlier in the series since it changes the dynamic of the characters and the storytelling to a much greater degree than anything that Araragi could do on his own.  I hope to see the eventual problem with Tsubasa resolved without any aid or appearance by Araragi but I can’t say that Senjougahara has been much in the way of help besides providing a roof over her head and so much needed friendship that has crossed the yuri line on several occasions.  Oh, and that’s the other thing… even without Araragi around, the series still manages to retain its renowned sex appeal with a stimulating shower scene, some suggestive sleeping poses and the return of Senjougahara’s school supplies panties.  I’ve got to admit, this season of Monogatari is off to an incredible start.

Shingeki no Kyojin (Episode 14)

The series of walls that surround the human civilization in Attack on Titan has been referenced multiple times as a marker to denote wealth and especially safety.  But with the fourteenth episode of Titan, does it also signify a difference in time periods?  You’d always hear about how people would want in the Wall Sina, the innermost fortification, since it offered the most safety… but maybe there’s more to it than that.  After a few scenes, showing of the city within the deepest walls, you notice how very different this society is from those inside Wall Rose and Wall Maria.  First, and probably the most noticeable, is probably the clothes, with people wearing suits, top hats and bowties.  Compare that to the tunics and trousers worn by the citizens outside of Wall Sina, and you notice a stark difference in clothing patterns that spans several hundred years, from Middle Ages to the 19^th Century.  If there was anything to reiterate the gap of wealth between the two, this would be it, but it does hint at a more advanced society, too.  Another major difference between the two is that the people inside Wall Sina were looking at newspapers whereas the others were reading a notice in a village square.  Although it doesn’t say anything about the difference in education, it does highlight the difference in wealth again and that the people inside of Wall Sina are more advanced than their counterparts.  One more aspect that might denote a difference in the time periods between the two is the horse-drawn carriage.  Virtually everywhere else in Titan, have we seen crude wagons and wagonettes used but here, within the wall of Wall Sina, did we actually see a large, stylish, painted carriage.  Again, this may just be another sign of the wealth behind the walls, but it does show yet another difference in the technology between the two sides.  Of course, the idea that the people behind Wall Sina are in a different time period than everyone else was merely in jest, but there are enough instances of a difference in technology, culture and society to believe that the one within Wall Sina is more advanced than those outside of it.  I doubt that there’s any meaningful reason as to why there is such a blatant difference between the two beside wealth, but it might be interesting to see what happens if these are all hints toward a greater conspiracy going on.

Silver Spoon (Episode 1)

Say, what about fishing?  Or more better yet, what’s the deal with the lack of ichthyology in Silver Spoon?  We know that Ooezo Agricultural High School is renowned for its curriculum involving livestock, especially since the anime has primarily focused on horses, cows, and chickens with crops being second and everything else third, but what does this rural, agriculture school offer in the realm of fishery studies?  You’d figure that since Japan consumes some of the highest amounts of seafood in the world that an agricultural school like this would house a department or offer courses in aquatic and fishery sciences.  Then again, with the school situated in the middle of Hokkaido, the question becomes, where would you teach these kids about fish and fishing?  I suppose a school near a body of water would make the most sense, probably one on the coast as to teach techniques and science about properly fishing the oceans, so maybe there’s a sister school or a satellite campus where students can learn about that food industry.  Still, I’m surprised that there hasn’t been any mention of fish or fishing at this school, especially since they seem to eat it during breakfast alongside the eggs that they harvest during class.  It might be a niche interest here in rural Hokkaido and an afterthought to these students, but I hope to see some fishing (especially how it contrasts farm life) here in Silver Spoon.

Tamayura ~more aggressive~ (Episode 2)

One of the issues I had with Tamayura ~hitotose~, the series prior to this one, is that Fu’s character never really established her own identity as an individual.  Instead, it always felt like she was just the figurehead of the quartet that was Fu, Kaoru, Norie and Maon.  With the new season establishing the photo club as a fundamental subject that highlights the ‘more aggressive’ theme, there’s hope that Fu will begin to distance her character from her friends.  Not only will this help differentiate her character from the others and put her in a position for her character to grow but it will also provide new opportunities for her to expand and understand her love for photography beyond snapping photos during excursions and hikes with friends.  It’s rather amazing how just a few episodes into this new season that Tamayura has begun to address the issues that I had previously with ~hitotose~.  All that needs to happen for this to be the perfect sequel will be if Kou and Komachi can mysteriously disappear and never be mentioned again (although I’d gladly settle for just Kou if the opportunity presented itself).

To Aru Kagaku no Railgun S (Episode 14)

Although my memories of this Sisters Arc in To Aru Majutsu no Index tend to be positive or favorable, I can’t help find myself irritated and distressed at it now after going through so many episodes of To Aru Kagaku no Railgun S.  The main reason for this change of heart is solely based on how the writing and storytelling of Index undermines and belittles the Misaka we’ve grown to know in Railgun.  A major reason why this problem exists is because Index was written well before Railgun was and, as a result, Railgun is required to revisit the writing of Index in order to recap this story arc.  However, between the time that Index was written to the time that Railgun began the story again, we’ve seen Misaka’s character grow and develop independently of Index’s variables and become a remarkable protagonist on her own.  We’ve grown to understand her personality and her motivations, how she responds to various stimuli and seen her power grow from a simple manipulation of electricity into stupidly overpowered feats of imagination.  But now, after all that growth and maturity, Misaka’s character was stunted, reduced and retarded.  Her powers were meaningless in Index as compared to Railgun.  Seriously, she was able to hack into some of the most impenetrable security networks in Academy City and now we have to expect that she can’t operate or control a simple vending machine?  And don’t get me started on her personality and dialogue toward Touma now after seeing her through about 30 episodes of Railgun.  Really, I appreciate the fact that Railgun is going back to revisit this arc and explore it through Misaka’s perspective.  Really, I absolutely love the idea to show this story again but through the eyes of the other protagonist and show how it affects her and integrates into her character.  The main issue I have with this is that, at this point in Index’s story, Misaka was still in her infacy and everything that she did was experimental to see where her character would end up.  Now that her character has fully matured and became well defined, it feels stupid and silly to force her to revert back to this infancy stage for the sake of completing this story arc.  Now I can only hope that this Sisters Arc ends rather quickly and that the series can return back to what Railgun is supposed to be: Misaka kicking ass and taking names.

Uchouten Kazoku (Episode 2)

The mother of the Shimogamo family, simply referred to as ‘Mother’ by her children and ‘Prince’ by her fellow billiards buddies, is an outstanding specimen of a character if I’ve ever seen one.  Her flamboyant personality is charming and sophisticated.  Her choice in clothing not only matches but enhances and accents that personality perfectly.  Her style and her presentation is engaging and entertaining.  And her look is simultaneously both beautiful and handsome.  And all that without mentioning how she’s a caring single-mother for her four luckless sons, can transform into an adorable red-furred tanuki and is scared of thunder and lightning.  I typically don’t obsess about characters like this right off the bat in a new series (okay, I’m lying, I do this all the time), but the Mother in Uchouten Kazoku is such a fantastic and fabulous and flashy character, that I love how she contrast everyone else in this series by punching it up with fun and amusement without becoming silly or losing her meaning in the series.  I’m looking forward to whatever role she plays in the series moving forward, not only from an entertainment perspective but from a story perspective, too, particularly if she plays a pivotal role in the lives of her four sons moving forward.

About 2 weeks ago: why I’m bored with Uchouten Kazoku, the impact of alternative hairstyles in Monogatari Series Second Season, how Zoe’s character contrasts everyone and everything in Shingeki no Kyojin, and why the clothes are my favorite part of Genei wo Kakeru Taiyou.

Best episode of the week: Watashi ga Motenai no wa Dou Kangaetemo Omaera ga Warui!

Anime trending up this week: Servant x Service

Anime trending down this week: Uchouten Kazoku

Danganronpa the Animation (Episode 3)

I’ve always kinda wondered that if they made a Phoenix Wright anime, based off the franchise of popular videos games, if it would be better to follow the mechanics of the game when it came to the investigations and trials or if changed the structure to match a looser, more liberal approach to dramatic lawyer action.  Danganronpa provides us with a glimpse at what it’s like to take the mechanics of a detective/trial video game and put it into an anime which was the former of my two options.  The style comes across to me as having mixed opinions.  While it does capture the style of Dangranronpa and manages to work well within the context of the trial, the downside is that it feels almost too blatant and automatic, helping to ruin the fun and mystery of the trial by putting so much emphasis on the bullets and accusations.  I mean, having the wrong text just blow up on the screen before the audience has time to even read, let alone think or react, pretty much spoils to you what’s supposed to happen.  Nonetheless, it does hold that Danganronpa-style to it that helps keep the game’s charm in this anime and helps differentiate it from, say, a Phoenix Wright-style objection.  And speaking of that, if I were to reevaluate my opinion of a Phoenix Wright anime after witnessing a trial in Danganronpa that mirrors a ‘true to the video game approach’, I’d almost actually rather have it be a more liberal approach that doesn’t feel all video game-ish, but one that still captures the style and themes of Phoenix Wright (for clarification, having the objection come out after a witness is done speaking, then revisiting the fallacy rather than having GIANT TEXT appear on the screen and Makoto using a bullet).

Gatchaman Crowds (Episode 2)

3D-CGI has always turned me off, especially from an early age when the medium began to debut and the graphics and apperances were still in their primitive state.  The form of using 3D-CGI has developed greatly over the past couple of decades and, with its growth and maturity, I’ve warmed up to the style, though I still tend to dislike shows that are entirely in 3D (a reason why I’m such a fan of anime is its resilience to remain 2D and gorgeous).  That being said, I find the use of 3D models and animation in Gatchaman Crowds to be one that I can’t help but like.  The use of these 3D models, the appearance of these models and the animation used to seamlessly integrate them into a 2D world is nothing short of spectacular and a testament to what 3D-CGI has become and what it can do.  I think this is the first anime besides Tiger & Bunny that I actually like and enjoy the CGI in.  Perhaps now, with the technology reaching new levels and finding forms that keep fans (like myself) happy, that 3D-CGI will begin to find more applications in the field of anime.  It still doesn’t mean I prefer it over 2D animation but that it isn’t an eye sore or a reason to dislike an anime like with so many previous television shows and movies.

Genei wo Kakeru Taiyou (Episode 3)

Perhaps the greatest attribute and strength going for Gen’ei wo Kakeru Taiyou right now is the dazzling and magnificent selection of clothes the characters wear, particularly the magical-girl forms whose costumes tend to be more elegant and extravagant versions of their traditional everyday clothes.  Hell, even their pajamas are cute and stylized and you can only wonder what they’ll be wearing when the inevitable beach episode occurs around episode 7 or 8.  But compared to other shows with similar themes, stories and characters, you always get a mirage of school girl uniforms, either a serafuku or blazer and miniskirt, and then a skin-tight, sexy uniform or frilly, frilly, girly outfit for the magical girl transformation.  And while I still enjoy those styles for the most part, Gen’ei Taiyou has done a remarkable job at selecting the outfits for its cast of characters, making them all vastly different from the each other and helping distinguish and accent each character’s personality, color, and Tarot card-themes (like the little suns, stars and crescent moon motifs that dot their clothes).  I think, right now, that the design, variety and quality of clothing is my favorite part of Gen’ei wo Kakeru Taiyou.

Monogatari Series Second Season (Episode 3)

Since the setting of Monogatari is a sparely populated metropolis that barely breaks double digits, one populated by a single teenage boy and a handful of horny teenage girls, you’d figure that there wouldn’t be salon or hair stylist to provide the characters with alternative hair styles for this new season.  So unless a traveling barber visited the two and gave all the girls special discounts, I’m kinda curious how all the girls got these new hairstyles.  Never mind that, the new hairstyles are easily the biggest difference between this and the previous seasons of Monogatari with many characters having improved hairdos (Tsubasa, Senjougahara, Karen), some characters having different styles (Kanbaru), and some just having an outrageous style hair that makes me miss their former (Tsukihi).  Because I am me and have a thing for short hair (who would’ve guessed), I have to admit that I am loving these alternative hairstyles and that, as a result of seeing them with this slightly altered appearances, I’m having to reevaluate how much I like and enjoy these characters now.  It’s really amazing how such a simple and mundane procedure it is, to change someone’s hairstyle like this, can have such a profound effect like it has had on me and other fans of the series.  And while I still enjoy seeing Senjougahara wearing her hair long or Karen wearing her ponytail, I find it refreshing and inspirational for this season of Monogatari to change the styles of just about every girl, to give this season something new.  I’ve got to say, I’m really enjoying the cast more with these different hairstyles, though I wonder how long this effect will last or how it varies from character to character.  Either way, I’m glad to see something like this happen in Monogatari and I’ve got to find and thank whoever did these wonderful haircuts.

Shingeki no Kyojin (Episode 15)

Even though Zoe’s character is portrayed in a comical, almost wacky manner, I absolutely love how she contrasts the rest of the cast in regards to Titans.  Hell, even her portrayal as a whimsical and humorous character helps reinforce that contrast since that itself is a distinction of her character, too.  Regardless, it’s refreshing and stimulating to see a character of her caliber being interested in the Titans to such an obsessive degree whereas the remainder of the cast would gladly trade anything they had to live another day without seeing a Titan.  And going one step further, Zoe is the only character to really show genuine compassion to the Titans though you could argue that her experiments are rather cruel and painful.  Still, you’d never see a character in Attack on Titan cry over the death of a Titan like Zoe did when she found her two ‘pets’ were murdered.  I can’t help but find her character to actually be my favorite as a result, finally seeing a character who breaks the common mold of the series over scared or fearless people who hunt or run from Titans.  Zoe is different.  And not only that, but she’s portrayed in a comic light that makes her character fun and amusing while also being intelligent, informative and able.  It’s great to have a character like Zoe in Titan, especially now after having the same or similar character archetypes through virtually every episode before.  My only hope from here moving forward is that she’s featured frequently, that her character grows along with the story and that she doesn’t find a premature end like so many other characters in this anime.

Silver Spoon (Episode 2)

Teachers in anime are kinda a neglected bunch of characters, often portrayed as comical or motherly background characters that really don’t do much in the way of inspiring or stimulating their students unless they’re one of the five members of a shitty harem anime.  That being said, I find the new equestrian teacher in Silver Spoon, Nakajima, to be just the opposite.  He’s a teacher first and foremost but he also assumes that mentor role with Yugo and his other students.  But especially with Yugo, who’s not really sure he wants to be in the equestrian club or even wants to be at a rural high school in general.  I have a feeling that considering his presence (alongside Mikage in the equestrian club), that Nakajima will have a substantial effect on Yugo’s character at various points throughout Silver Spoon.  He has that certain air, that certain quality to his character that hints that he’ll have a significant impact on the story of Silver Spoon and on Yugo’s character.  So with that, I’m looking forward to what Nakajima will do in Silver Spoon, especially considering that none of the other teachers have made a noteworthy impact to date.

Tamayura ~more aggressive~ (Episode 3)

How quickly do my opinions change.  I remember enjoying the Tamayura OVA, struggling and disappointed with Tamayura ~hitotose~ and considering not even picking up Tamayura ~more aggressive~ after remembering how discouraged I was after the 12-episode TV run.  But with just three episodes into Tamayura ~more aggressive~ and I find myself in love with the franchise like never before.  Perhaps it’s because the new characters, Kanae and Shimokamiyama, provide refreshing roles in the series in how they assist and develop Fu’s character and that the two biggest problems for me (Ko and Komachi) have had minimal screentime.  Or maybe because the series is focusing on the newfound Photography Club and on photography in general as compared to previous episodes of ~hitotose~ which alternated between charming stories and boring snorefests.  But with this new season of ~more aggressive~, Tamayura has taken a more aggressive approach to its characters, its story, its themes and its presentation and the sequel to this franchise is off to a fascinating start.  I don’t think I’ve ever seen a sequel score more than one point higher than an original, especially since Tamayura ~hitotose~ places last in Autumn 2011, but this has been the biggest surprise of the season, especially since I was considering skipping the series after my disappointment two years ago.  Thank goodness I gave this anime a shot and have felt rewarded ever since.

Uchouten Kazoku (Episode 3)

Despite being the most popular anime of the season according to anime bloggers, I can’t help but find myself bored with Uchouten Kazoku and I think I know why.  My main issue with the series is that it deals too much with politics.  Between the Shimogamo family’s internal struggles and those with the other Tanuki clans of Kyoto to the internal rumblings between the Tengu clans to the ‘Friday Club’ to Incident A and Incident B and just everything that everyone talks about… it’s all political and it’s all a bit peculiar at this point.  It’s a little hard to develop connections with these characters and these events when they all happened in the past and all are interwoven to create the complex and extravagant setting that is Uchouten Kazoku, but it’s all that every really happens.  Everyone is focused on the past and virtually every dialogue is tied to one of these prior events or are political in nature.  And, as a result, I can’t help but find myself uninterested when characters are talking about some event that happened in the past, especially when it’s all that ever happens in an episode.  So while I do appreciate the level of detail and complexity in Uchouten Kazoku, I have to question its relevance and purpose to the story and to question to what degree does it necessitate, especially since it’s reached the point where it’s begun to negatively affect the story and the characters.  But then again, maybe that’s only the case for me seeing how it has unrivaled popularity among other bloggers to date.

And before I forgot, while I’m on the subject of the past in this post, doesn’t Yasaburou’s male human look kinda remind you of Ted “Theodore” Logan’s look from Bill & Ted’s Excellent Adventure?  I mean, that black vest on that white T-shirt and that mullet-style haircut with tight jeans… doesn’t it just scream 80’s fashion whenever you see Yasaburou?  I think he needs to go back to being a trap with that serafuku like we saw in the first episode.

During sometime, whenever Week 4 happened to be: the brilliant aesthetics and visuals of Genei wo Kakeru Taiyou, the magnificent and expressive use of creativity and imagination in Stella Jogakuin Koutouka C3-bu, the appropriate use of mild comedy in Tamayura ~more aggressive~ and Karen being the only stupid character in Monogatari Series Second Season.

Best episode of the week: Uchouten Kazoku

Anime trending up this week: Genei wo Kakeru Taiyou

Anime trending down this week: Hyperdimension Neptunia

Danganronpa the Animation (Episode 4)

I think the fun and entertainment of watching Danganronpa (and the whole point of playing Danganronpa) is to put yourself in Makoto’s situation and think about what you’d do to escape Hope’s Peak Academy.  I’ve come to the conclusion already that if I were to commit one of the murders in order to get out, the best time to do it would be to commit one during the investigative periods when everyone else is focusing all their time and energy on another murder.  That or just kill everyone all at the same time so then you automatically go but it’d be pretty hard when they’re spread throughout the school.  Either way, I’m kinda thinking we might see a murder like that sometime soon.

Gatchaman Crowds (Episode 3)

Hajime is already a personal favorite given her genki, positive and jovial personality that always brightens and energizes every scene of Gatchaman Crowds that she’s in.  And though we’ve seen her surprised and pout and wearing her grumpy-pants, we never really see Hajime stray her from constant emotion of smiles.  I do wonder if or when we’ll ever see her hit other famous emotions, like sad or mad or confused or anxiety, but I do hope we see her character challenged somewhat in Gatchaman Crowds.  I’d especially like it if something like this happened soon, although that depends entirely on the story and how her character reacts to whatever events occur.

Genei wo Kakeru Taiyou (Episode 4)

The more I watch of Gen’ei wo Kakeru Taiyou, the more the series grows on me and the more I enjoy watching this entertaining anime.  And as the series continues on, I realize more and more that the aesthetics to this anime, that is the combination of artistic details (Tarot Seira’s eyes), color, style, presentation and theme, are what I am enjoying the most.  With this episode featuring multiple Madoka-isms (to put it simply and politely), I found myself paying close attention to the use of artistic motifs and textures and colors to express the contrast the Tarot/Daemonia world has from the real world and how this gives it a personality and feeling that’s both expressive and substantial.  Combine that with the costumes and clothes, the very same ones I obsessed about in the last post, the use of colors and symbolism (especially with each girl’s Tarot card) and the cutesy, charming nature of the character designs and the anime comes together as something special, even beyond its visuals and adorable art style.  And as the series moves on with its story and characters, perhaps down a road that I might not enjoy or want, the one reassuring aspect is that the aesthetics will continue to dazzle and impress.  So even if the anime begins to tumble downhill or take a nosedive, something which I’ve always feared from the beginning with this anime, I’ll know for sure that I will enjoy the aesthetics of Genei wo Kakeru Taiyou throughout.

Monogatari Series Second Season (Episode 4)

Is Karen the only ‘stupid’ character in Monogatari?  Considering that every character say something clever or meaningful or significant at some point in the series, it always seems as though Karen is the one who doesn’t think long enough or hard enough and let’s her personality or aggression get the best of her.  Like, back during the Karen Bee arc, it was her foolishness and naïve nature that lead to her burning fever.  In the previous episode, Senjougahara tricked her, and rather quite effortlessly, to take Tsubasa into her home.  And just in this episode, when questioning about ‘fire’, Karen gave her opinion on it (meaning justice) only to retract her position when Tsukihi countered with ‘love’.  You could even count Karen’s aggressiveness, like forcing Tsubasa to play cards with her and her little sister, as part of this problem.  Hell, throw in her meager attempt to stack cards as part of this problem too, especially in light of Tsukihi and Tsubasa’s majestic and stable castles.  Either way, it always seems as though Karen’s character is a little bit slower than the rest or her mind doesn’t move as fast as her mouth (or her legs for that matter).  It might just be that her character is never in the right place or the right time for some meaningful or deep or profound monologue or statement of self-reflection or one life, but it just seems to me that Karen is the stupidest of the characters in Monogatari.  Then again, it might not be that she’s stupid but that she’s a bit too energetic, a bit too hyper, or a bit too aggressive with her personality, that she acts before she thinks.  And if that’s the case, then it’s nice that she’s smart, although you’d hardly know it with the way she talks and acts.  Either way, it’s always fun to see what’s going on with her, whether she’s stupid or not.

Silver Spoon (Episode 3)

Watching Yugo’s transition and transformation, from starting out as an urban kid who’s developing and maturing into a rural expert, is rather quite remarkable considering the stark contrast he’s facing from where he was to where he is now.  The thought of that made me question how often these teachers see kids from outside the rural catchment area that the school draws from and how these teachers handle these kids.  Furthermore, how do the teachers handle kids who are experts in certain subjects based on their prior experience and what their family farm specializes in.  If I had to guess, I’d wager that the school doesn’t see too many kids from urban settings or ones who have no prior experience or interest in agriculture or farming, and that students who venture out there are motivated by something, such as veterinary sciences, food processing or civil engineering.  And as for students who specialize in certain areas, you’d figure they might just take the class as an easy ‘A’, though you never know what they already know and that some aspects of the class might be beneficial, especially if there are other techniques or technologies to farming that the kid has had no prior experience with.  Either way, I suppose everything works out just fine for all the students of the various backgrounds, especially since the teachers thus far have had an exceptional interest in helping the students with their struggles and adversities so far.

Stella Jogakuin Koutouka C3-bu (Episode 4)

Yura’s imagination, often somewhere on the border of dreams and delusions of grandeur, really took a giant leap in this episode, and really captured my attention right as the series was beginning to stagnate and level off in mediocrity.  But the wild and expressive dreamscape she had, combined with stylized art and beautiful imagery, really differentiated this episode to me from the rest and shifted the course of the anime in a whole new, positive direction.  Just the story, the symbolism and the use of her delusions finally came to fruition and meaning for her character.  Not only that but seeing that imagery and that significance add some missing creativity and purpose to the series that moved beyond Yura wanting friends or the C3 Club wanting to win more survival games.  I hope the anime can continue to build off these dreams that Yura constantly has since it provide some spice and variety to the series.  If the anime continues to do that and find meaning or demonstration in these dreams, then I’ll have to reevaluate how much I enjoy C3-bu and how well the anime is performing, beyond the airsoft battles and girls chit-chatting over tea.

Tamayura ~more aggressive~ (Episode 4)

The comedy of Tamayura is very quite appropriate for a healing anime.  Considering that the humor is tailored to shorter, quicker jokes, often accompanied by chibi characters or cute expressions, the reaction from the audience is often smiles or chuckles rather than bouts of laughter or needing to spit out your drink all over the screen.  If Tamayura were like that, it really would distract from the healing, feel-good type atmosphere and theme the anime has going for it.  The brief jokes with simple smiles are all this anime needs.  And those smiles go a long way to help with the healing aspects of the anime, too.  So while I always enjoy comedies for making me laugh and enjoy myself, I do enjoy the comedy in Tamayura ~more aggressive~ for being applicable to what the anime needs and how it fits in with everything else in the anime.

To Aru Kagaku no Railgun S (Episode 16)

If there’s one thing this arc achieved in Railgun S, it is that Misaka Imouto has reinforced her position as my favorite character in Railgun/Index’s universe.  More importantly, it’s that Misaka Imouto’s sense of humor and personality were put on further display and meaning than what we’ve seen before and that her character is one of the most humorous and adorable in this extensive anime/light novel franchise.  I can only hope that we continue to see these clones wandering around Academy City in the remainder of Railgun’s second season, especially since my favorite episodes were the ones where Misaka Imouto was featured prominently and had ample time to make jokes at her older sister.

Uchouten Kazoku (Episode 4)

Without a doubt, the best thing in Uchouten Kazoku is the internal dynamic of the Shimogamo family.  Watching the family partake in the Obon festivities in Kyoto has been the highlight thus far of Uchouten Kazoku and it was in large part due to the dysfunctional family finally spending time together as a unit rather than as individuals occasionally meeting up with one another at various points along Yasaburou’s story.  But with the Mother’s flamboyant behavior and charming personality, Yaichirou’s stubborn yet anxious nature, Yashirou’s timid and dependent character, and Yasaburou’s determined (but only sometimes) style, the family fits pleasantly together as a unit and really brought the episode to life, from start to finish.  I can only hope to see more of the family together as the anime moves forward, especially if they can put in situations like this again where they’re all together for something both spectacular and crazy.

This week: being fanservicey but not being a fanservice anime with Stella Jogakuin Koutouka C3-bu, finally satisfying my curiosities in Shingeki no Kyojin, theories on why I can tolerate the melodrama in Genei wo Kakeru Taiyou, and a simple suggestion to make Uchouten Kazoku even better.

Best episode of the week: Monogatari Series Second Season

Anime trending up this week: Shingeki no Kyojin

Anime trending down this week: To Aru Kagaku no Railgun S

Gatchaman Crowds (Episode 4)

I’ve always been a fan of Mamoru Miyano’s voice acting (Light from Death Note, Takuto from Star Driver, Taichi from Chihayafuru, Masaomi from Durarara!!) and having him voice the alien, Berg-Katze, in Gatchaman Crowds is an absolute treat.  Not only for me but apparently for Mamoru, too.  Just listening to his playful voice, often uncontrolled or untamed in the best way, you can tell he’s having a wonderful time voicing this mysterious, flamboyant and extravagant antagonist.  His voice acting has been specular and has helped aid Berg-Katze’s character to appear more crazy and dangerous than any action he’s taken thus far.  Mamoru’s talent really matches this role considering his range and use of vocals, and he’s been a perfect fit for Berg-Katze in this revival of the Gatchaman series.  And best of all, you can tell from the way he’s voicing Berg-Katze that Mamoru is loving every minute of this performance.  I’m always happy whenever a seiyuu goes above and beyond with their presentation of a character but it’s even better when you know they’re enjoying it as much as I am.

Genei wo Kakeru Taiyou (Episode 5)

Thick and sappy melodrama is often a turn-off for me, particularly when a show tries its damnedest to play it as entirely serious and profound when, in reality, it comes off as something ridiculous and is often chided as a result.  So while Gen’ei wo Kakeru Taiyou has thick, sappy melodrama, why do I not mind it or even enjoy it in parts?  Perhaps one reason for my tolerance of this style of storytelling is because that there’s some actual authenticity to this drama when characters die.  There’s no bullshit in Genei Taiyou when a character dies and everyone forgets about them.  So from that angle, I can understand why some of the drama is so hard on some of the characters, especially when they try to hard to prevent it and come up empty-handed.  The other might be that I’m not as emotionally invested in the characters or story in Genei Taiyou as I have been with other anime.  That’s not to say that I’m not enjoying this anime, considering it’s probably my candidate for the best surprise of the season, but more of a byproduct of me enjoying the anime for entirely different reasons than the characters and their depressing stories.  That’s not to say I don’t share some of their emotions when they’re sad at the death of a friend or father figure, as was the case with this episode, but more that magnitude is entirely different.  Maybe if I were more emotionally invested in the series and then it tried to pull this melodrama on me, then I’d be more disappointed, but I don’t think the series has done really anything wrong despite resorting to melodrama in almost every episode.  Or maybe I’m just more tolerant of it in general?  Who knows.  Either way, this is one of the first times I’ve been able to endure melodrama to this degree without wanting to bash my head on the corner of my desk or drop the series completely.  Hopefully Genei Taiyou manages to stay this way until the end…

Monogatari Series Second Season (Episode 5)

If there’s one consistency to Monogatari, whether Bake, Nise, Neko or this, it’s that the final episodes in these mini-story arcs are always a favorite.  Just the way each episode manages its climax, its emotions, its subtleties and its satisfying conclusions; every ending throughout the series is a gem to watch.  Really, what more can I say after the conclusion to Nekomonogatari: Shiro?  Maybe that I want to watch it all over again with a better understanding to everything in the story?  If I had the time (and you know I don’t, considering how late these posts always are), I’d leap at the opportunity (as well as tackling my ever-growing backlog, too).

Shingeki no Kyojin (Episode 17)

As I mentioned thirteen episodes ago, questioning the limitations of the steampunk technology (the 3D-maneuver gears) that the humans rely upon to defend the titans, what would happen if there were no trees or walls around to use when fighting the titans?  Well, now we have our answer with our heroes out and about in the great wide open, with not much in the way of trees or buildings to use when needed to defend or fight against a titan.  Not only does it change the entire dynamic of the series with the characters needing to reinvent other ways to combat these titans but it also provides us with the opportunity to see just how valuable these walls and building are considering how these elite soldiers are largely ineffective without them around.  So with the series moving into this change of setting and entirely different landscape, it should be fun to see what happens next.

Silver Spoon (Episode 4)

If the fourth episode of Silver Spoon is accurate, I feel bad for the farmers of Hokkaido.  For so many of those students to miss out on freshly-made or gourmet or even just cheap, hot pizza, you can’t help but feel bad for them.  Even here, driving through dinky, dusty rural towns of a couple thousand people, there’s always a couple pizza places.  And hell, isn’t Ooezo Agricultural High School situated in a decent-sized city in Hokkaido?  Why can’t the students just visit a local pizza joint after clubs are over but before curfew?  I don’t know, maybe Japan just hates pizza, but judging from the reactions of the students, it couldn’t be further from the truth.  Or maybe it’s just not as Americanized as I expected it to be with pizza being a significant aspect of their regular diet.  Well, if it were up to the students, it probably would be.  Heh, wouldn’t be surprised to see one of the students do something with pizza whenever this manga/anime is over.

Stella Jogakuin Koutouka C3-bu (Episode 5)

C3-bu actually has quite a bit of fanservice, especially with this beach episode with the girls all in their bikinis and using two bikini tops as flags, but it doesn’t feel like a fanservice anime like so many others.  Perhaps it’s because C3-bu has the restraint to prevent the show from diving into the “ecchi territory” where there’s bouncing boobs, upskirts and panties, and sexually-suggestive situations.  In fact, C3-bu has had none of it, with the most fanservicey material being girls bathing in a hot springs a couple episodes back.  And while that still is considered ecchi to some, it’s pretty much the mainstream for late-night anime now.  Maybe the series drew a line that the animators dare not cross, akin to what happened with Girls und Panzer (though it did have frequent bathing and I did catch a couple upskirts in that anime).  Still, whatever C3-bu is doing, it knows that it doesn’t want to be labeled as an ecchi anime though it is pushing the envelope with episodes like this.  Nevertheless, I don’t think the series will do much more than this, especially since we’ve already checked off the hot springs episode and beach episode already.

Tamayura ~more aggressive~ (Episode 5)

Considering how much Kaoru, Norie, Maon, Kanae and pretty much everyone else devotes their time and attention to Fu, you can’t help but wonder why Fu doesn’t return the favor and spend all her time helping out and obsessing about her friends.  Like, when was the last time Fu planned a hike to a special area to inspire Kaoru and her love of scents?  Or what about Fu gathered everyone else together to help encourage Norie with her cooking?  And has Fu really ever helped Maon decide what she wants to pursue since she’s always undecided about what she wants to do?  Nope and no to all three.  Instead, it’s all about Fu.  And no, I don’t mean to say that Fu is selfish or avaricious but she clearly doesn’t care about her friends as much as they care about her.  Or if she does, she never goes to the same lengths to show it.  If there’s one thing I’d love to see, it’d be for Fu to do all the behind-the-scenes things to help one of her friends to return the favor that everyone has done for her.  Too bad I don’t think anything like that will happen, at least not in Tamayura ~more aggressive~.

Uchouten Kazoku (Episode 5)

If there’s one suggestion I’d like to make to Uchouten Kazoku to make it immensely better than it already is, it would be to have the Shimogamo family to spend more time as tanukis and less as imitation humans.  For one, it would help reinforce their characters are a small, simple and vulnerable family of tanukis that’s suffered and struggled since the death of their father.  Another reason why I’d prefer this change is that it would further contrast the difference between them and the humans that they’re so afraid of.  And finally, the real and only reason why I wanted to write this mini-review for episode 5… they’re just so damn cute.  I absolutely love how adorable these little creatures are and almost feel jaded at times when they’re human throughout the whole episode.  If we saw the Shimogamo family at home conversing and arguing at tanukis… oh God, imagine how cute that’d be.  Imagine how much everyone would love it, especially if they fought and wrestled, too.  So yeah, the more the characters are in the tanuki form, the better.  Much, much better.

This week: appreciating the visual aesthetics of Uchouten Kazoku, the use of emotion in Shingeki no Kyojin, pink blood in Danganronpa, and the team failing to act as a team as a strength for Gatchaman Crowds.

Best episode of the week: Watashi ga Motenai no wa Dou Kangaetemo Omaera ga Warui!

Anime trending up this week: Love Lab

Anime trending down this week: Silver Spoon

Danganronpa the Animation (Episode 6)

I don’t know what it is about the pink blood in Danganronpa, but I don’t like it.  Whether it’s intended to make the deaths more cartoony or kiddy or simply less frightening, it’s an aspect that seems to distract from the overall mood and theme of the series with death and despair as major hallmarks.  But pink blood?  If anything, the pink blood almost laughs at the whole notion of despair, doom and gloom that the series seems to love.  Why not just go with red and have everything line up?  Really, what’s the deal with the pink blood?  Unless they’re robots from Key the Metal Idol, I don’t get it.

Gatchaman Crowds (Episode 5)

Although the six Gatchaman heroes from a team, complete with their own secret hideout and badass leader (J.J. Robinson), they rarely act or function as a unit.  Really, besides meetings, briefings and general hangout sessions, when have we ever seen more than 3 or 4 of them together for a mission or objective?  Instead, it’s like it’s a collection of misfits who just so happen to share some similar interests but go about as individuals.  It’s rather quite pleasing to see some dysfunction and disconnect between the characters and their leaders in Gatchaman Crowds, so seeing them work like this, with the possibility of them acting like a team later on, is a strange positive for this series.

Genei wo Kakeru Taiyou (Episode 6)

Look at their heads.  Then look at their necks.  Unless their necks are reinforced with steel rebar and concrete, I don’t understand how their necks work.  Like, not even from a physical standpoint of trying to understand how it supports the weight of their heads, if you think about it anatomically, it still doesn’t make sense.  And no, I’m not trying to be funny here; I’m legitimately concerned about their health.  Fortunately, it appears as though the adults in this series don’t suffer from severe cases of ‘moe gigantism’ in their heads, but still, the anorexia in this anime is just as disturbing as the Daemonia who kill little girls for fun.

Shingeki no Kyojin (Episode 18)

I have trouble recalling an anime with such a distinct and constant use and expression of emotion like what you see in Attack on Titan.  Every character in every episode has distinguishable expressions on their faces and in their voices.  You can clearly see how every character feels whenever they’re on the screen.  Just the art and aesthetics of this series do so well to convey their emotions, especially with how strong they are at times.  It’s almost overwhelming at times, the amount of passion and excitement you see in just about every scene.  And it’s really quite entertaining too, especially since you can share in the experience or mock the series for being too over-the-top.  Either way, the constant onslaught of overpowering emotion is one of the best things Attack on Titan has going for it, especially now that the action has picked up to match the already-established emotions.

Stella Jogakuin Koutouka C3-bu (Episode 6)

How do the girls get away with bringing guns in the school?  And how does an all-girls school even allow them to cosplay in bikinis for a ‘wet paper contest’?  I realize I’m not supposed to be thinking about stuff like this, but still… suspension of disbelief only goes so far… that and I despise having school themed episodes like this in anime like C3-bu, a show where the interest and excitement clearly lie beyond the borders of Stella Women’s Academy.

Uchouten Kazoku (Episode 6)

I’ve always been a fan of the art, color, lighting, animation, aesthetics and cinematography of P.A. Works, always hailing it among the best in the industry, but Uchouten Kazoku raises the bar for what P.A. Works is capable of and what a quality anime should look like.  Almost everything in Uchouten Kazoku is visually appealing, thanks to a careful combination of the above qualities, and this episode seemed to highlight this anime’s strength in a select few scenes.  Really, the words right here, right now don’t do this anime the justice that it deserves and only can truly be appreciated by the fans watching and studying its beautiful illustrations.  I can only hope that these screenshots do the series credit, especially after the masterpiece that was episode 6.

This week: a refreshing and genuine semi-romance in Silver Spoon, understanding why Yura has always been alone and why she strains her friendships in Stella Jogakuin Koutouka C3-bu, why both the new and old characters are making Tamayura ~more aggressive~ much more fun, and frustration with the lack of character development in Gatchaman Crowds.

Best episode of the week: Fate/kaleid liner Prisma Illya

Anime trending up this week: Tamayura ~more aggressive~

Anime trending down this week: Genei wo Kakeru Taiyou

Tamayura ~more aggressive~ (Episode 7)

Really, the handful of new characters in Tamayura ~more aggressive~ are what’s making this sequel much more enjoyable than the anime franchise has ever been before.  And though I touched on this topic in an earlier review, it has become increasingly apparent in recent episodes that the characters are what’s making this anime great.  Kanae, Shimokamiyama, and now Tomo have all been spectacular additions to this new series in the Tamayura series, each adding some well-seasoned amusement and wholehearted purpose while their characters are on screen.  With this episode specifically, Tomo really provided the spark that made it both fun and meaningful.  Furthermore, Tamayura is using its old, minor characters in expanded roles now, which has helped revitalize and rejuvenate their characters and the series as a whole.  Chihiro, Shihomi and Saymoi have all seen their roles developed in this new season and each has had a significant impact on Fu’s character, much more than what was seen earlier in the franchise.  Seeing these characters have an influence on the series shows a strength in the overall writing and how the story is using these characters around Fu, not just as background characters for comedy. The only characters who really haven’t done too much in this sequel are the big four in this series: Fu, Kaoru, Norie and Maon.  Besides Fu, none of the characters have really changed or impacted the series by themselves, though it’s fair to say that none has really had the opportunity thus far.  Still, their characters are almost exactly the same as they were in Tamayura ~hitotose~, so there hasn’t been much excitement with them, at least not right now.  And I guess I shouldn’t be too angry with this pattern of development since it’s meant a lot less of Kou and Komachi, both being the bane of Tamayura in my frank opinion.  But instead, seeing these new characters and some of the background characters stepping up has really paid off for this season of Tamayura.  These new characters have done most of the muscle work to lift the anime out of mediocrity and carry it to new heights.

Stella Jogakuin Koutouka C3-bu (Episode 7)

Considering that one of the biggest, if not the biggest, storylines in C3-bu is Yura’s struggle to make and maintain friendships or just stable relationships, then you can’t help but want to slap some sense into Yura and show her that her excessive and obsessive actions are what’s leading her down a path of isolation and loneliness.  Sure, you can see it in Yura’s eyes (or maybe in the fact that she cut her hair to that cute tomboy style) that she’s determined to be the best damn airsoft/survival game player that’s ever lived.  But for what purpose and for what cost?  It’s pretty clear that Yura wants the Stella Girl’s Academy C3 Club to be the best in all Japan, likely as a way of saying thanks to Sono and the other club members for accepting her, building her up and treating her like an equal.  It’s about the first time that Yura had friends she could rely and depend on and doing this is just her way of saying thanks.  Too bad Yura isn’t experienced enough to realize that her ‘thanks’ or leadership is putting off the very friends she loves and cares about.  And unfortunately for Yura, it’s straining her friendship with her only circle of friends.  It’s really quite sad to see this for Yura’s character since it’s so clear how much she loves everyone else in the C3 Club and how much they love her back.  I’m guessing it’ll be up to Sono to bring her back to her senses and force her to realize what she’s been doing wrong.  Maybe then it’ll finally dawn on Yura that the reason she’s been alone for most of her life is because of this very reason and maybe, just maybe she’ll finally solve that problem that’s plagued her for her whole life.  Or at least that’s how I want C3-bu to end.

Silver Spoon (Episode 6)

It’s rare to see this kind of romance in anime; the one between Yugo and Aki.  It’s one where the two characters share mutual feelings for each other but it’s able to progress without the constant blushing, embarrassment, misunderstandings, fanservice or inane comedy that beleaguers virtually every romance anime in a high school setting.  The fact is, the semi-romance in Silver Spoon is quite mature in that the characters act like adults rather than silly anime tropes.  Not only is it refreshingly enjoyable but it’s also quite appropriate given the themes and story of Silver Spoon with Yugo leaving home to live his own life.  Having an ecchi harem of five different scantily-dressed schoolgirls hovering over his dick would completely undermine his character and his story as would a head-bangingly dull romance between Yugo and Aki where the two never advance past the hand-holding stage while all their friends try like oxen to make the romance advance.  It’s just… nice to have a romance like this in Silver Spoon.  And though I’m not particularly a big fan of romance in anime or the romance genre in general, this is something I can be a fan of.  Hopefully the series can continue to build off this sensible storyline since it seems to be my favorite aspect about Silver Spoon.

Shingeki no Kyojin (Episode 19)

It’s kinda cute how little everyone cares about studying or researching the titans besides Zoe.  Like, I’m sure everyone else is curious and eager to learn about the titans as much as they can if not for the fact that it could eventually lead to the solution that would save mankind… but nobody really cares about it except for Zoe.  Everybody is out doing their own thing, thinking about killing whatever titans get in their way… and then there’s Zoe.  It’s just cute how much she cares about this stuff and how it consumes her life to the point of obsession.  And to be honest, her science experiments are pretty cute, too.  Sticking Eren in a dry well and having him explode into a titan so they could monitor him in case he goes berserk?  The little chibi Zoe in her imagination reflects that very charm in her surprisingly unique character.  Not only that but go back to her previous experiments on the other titans and how much she cared about them.  It’s really quite amazing at how abnormal or spectacular her character is.  And even though I’ve mentioned it before when first analyzing her character, I think Zoe is easily my favorite in Attack on Titan.

Monogatari Series Second Season (Episode 7)

Until time travel is going to be a well-defined science, it’s always going to be rather ambiguous and unclear when implemented in stories, literature and of course anime.  If not for the very fact that it’s theoretically impossible right now, it’s for the fact that authors and writers can only analyze and include a certain limited set of facts and information before devolving a proper story into a low-quality textbook on the theory of time.  So seeing Monogatari take a stab at this topic with a rather humorous approach felt somewhat refreshing and entertaining, much like this sequel has been in the Monogatari franchise.  With most of the dialogue being a mix between stereotypical anime convoluted dialogue and stereotypical anime-style parody humor, this time on the theme of time travel rather than some popular anime, it came to be pretty uplifting and fun, if not for the fact that it sideswiped the issue of ambiguous time travel but poked fun at it with Shinobu being the main culprit.  So I applaud Monogatari for that.  By taking a moment to identify the potential flaws and subsequently making fun of its storytelling mechanics, Monogatari was able to sidestep a potential pitfall and turn it around into a positive.  So good job for doing that, Shaft.

Genei wo Kakeru Taiyou (Episode 7)

This episode is the calm before the storm.  Not only was it very uncharacteristic for Gen’ei wo Kakeru Taiyou (being happy and cheerful), but it’s pretty clear that something bad is going to happen and happen soon.  In fact, they probably could’ve shown a still frame for 24-minutes saying “I hope you enjoyed the first half because the rest of this series is gonna be dark” and communicated the same message.  Guess we’ll find out how dark this anime gets with only five episodes remaining.

Gatchaman Crowds (Episode 6)

It’s shocking that an anime of this quality and admiration has only had character growth for one, maybe two characters.  You’d figure that for all the attention, acclaim and love that Gatchaman Crowds is receiving that it’d do more than develop Rui’s character and perhaps arguably Utsutsu’s, too.  But Hajime has never really been challenged nor has her character significantly changed.  Not that I’m complaining since I like her but I would’ve expected to learn more about her, her personality and seen her face a situation where she’s forced to do more than act genki like she always does.  Sugane’s character has changed minimally, as a byproduct of Hajime and Joe, but the most progress he’s made has been moving from the forefront to the background.  Honestly, Utsutsu is the only Gatchaman that’s seen genuine growth throughout the series and even then it’s been rather limited or unclear.  We’ve seen her become more open as a character but it’s never really been the focus besides a few select scenes.  From a developmental and maturity standpoint, Rui is miles ahead of everyone else in terms of his character and his story, so it’s not so much an issue with the writers writing good character but just choosing to ignore the main cast through the first half of the series.  Maybe it’ll pick up soon with Hajime or the others in this series but I wouldn’t hold my breath at this point.

This week: loving the scrutiny and struggle in Yura’s character in Stella Jogakuin Koutouka C3-bu,  recognizing Sayomi’s contributions in Tamayura ~more aggressive~, thoughts on the father’s four attributes being divided among his sons in Uchouten Kazoku, and criticizing Genei wo Kakeru Taiyou for having a death, just for the sake of having a death.

Best episode of the week: Uchouten Kazoku

Anime trending up this week: Silver Spoon

Anime trending down this week: To Aru Kagaku no Railgun S

Uchouten Kazoku (Episode 8)

The little bit that Yasaburou added, how each son embodied a distinctive and characteristic attribute of their deceased father, was really a pleasant and impactful addition to conclude the episode.  Not only did it further explain how each child is connected to their father personally but also how he continues to live on through his four sons.  However, when comparing the four sons to their father, you can’t help but wonder if this is another example of ‘the whole is more than the sum of its parts’.  That is to say, the father was able to do more and accomplish more with these four attributes together than the four sons can do individually.  Not to say that because of his status as the leader of the entire tanuki community of Kyoto did he accomplish more but that as a person, a father and a character, he seemed more complete.  Perhaps it’s because he was able to keep these four attributes in perfect harmony within himself rather than being subjected to criticism and conflict like what we see with the brothers.  Well, whatever the reason, Yasaburou’s astute observation was a wonderful way to surmise the importance of his father’s legacy on himself and his brothers.

To Aru Kagaku no Railgun S (Episode 19)

There’s such a thing as loli and then there’s such a thing as too loli.  And this is too loli.  I had always considered the main quartet of characters in Railgun to each be young girl on their own or in their groupings, maybe borderline loli depending on the definition or usage of the term.  But now with Febri on board, I can’t help but think of these girls as young adults, acting all grown-up and responsible when taking care of this little, lost child.  And no, I don’t get this impression from what they’re doing but merely from how they look in comparison to Febri.  That is to say, Febri is so loli, she makes other lolis look like young adults.  And when you get to be that loli, that’s too loli.

Tamayura ~more aggressive~ (Episode 8)

Poor Sayomi.  Her character is frequently chastised and avoided by the main cast of Tamayura due to her eccentric behavior, reckless driving skills and her infamous hikes and adventures that are more tiring and time-consuming than writing for an anime blog.  But all Sayomi does or want to do is to share experience with her sister and her friends all the wonderful sights, sounds and smells that she’s discovered in her life.  It’s not her fault that these hikes and explorations are grueling excursions through forests and up mountains, but she’s confident the experience is worthwhile and that it’ll have a meaningful impact on anyone who finishes the trip.  It’s not like she enjoys tormenting these girls; everything she does is in good faith.  She knows that everyone will cherish the experience and be thankful that Sayomi guided them there.  But how is she repaid for all this?  Not very well.  Not very well at all.  It’s kinda sad to see this level of conflict between the two sisters in Tamayura, though you always know whatever resistance Kaoru puts up is met with submission and followed by reluctance.  Maybe Kaoru and the others should be fortunate that Sayomi spends this much time and energy on trying to impress them with sights and experiences that they would never otherwise partake in.  Now if only she were able to spend that much time and energy on learning how to be a better driver…

Stella Jogakuin Koutouka C3-bu (Episode 8)

So what is C3-bu all about?  Is it about the C3 club and their participation in airsoft tournaments and survival games?  Is it about Yura’s phantasmal fantasies that have seemingly dropped off in recent episodes?  Or is it about Yura’s flaws as a character and questioning whether she’s happier when she’s winning, praised and revered or if she’s happier being another seat at the table of friendship.  Well, to be honest, it’s probably a healthy dose of all three blended nicely together, but the recent focus on Yura’s flaws, ones that really question and challenge her character, have been exceptional for this anime and Yura as a protagonist.  Seeing these imperfects and blemishes in her character and seeing them manifest in conflict has really highlighted the drama in this anime by showcasing the conflict going on in Yura’s mind.  She wants to win.  She wants to be praised.  But she also wants to have friends, to be happy and to smile again.  And unfortunately for her, she lacks the perception to understand what she really wants and the clairvoyance to understand how to get it.  Really, seeing the deterioration of Yura’s character and her unfortunate true nature have made C3-bu a joy to watch.  I can only hope to see this continue and for there to be a resolution to this storyline since it really has become the anime, more than the airsoft and delusions combined.

Silver Spoon (Episode 7)

What’s new and spectacular for Hachiken is same old, same old for everyone else.  It’s rather amusing to see what riles up and excites Hachiken is pretty much an everyday activity or occurrence for others.  But then again, that’s expected.  Since Hachiken is from an urban setting and has never really experienced a rural or agricultural environment, all these sights must be really exciting for him.  And for a majority of the audience who has never had the chance to experience such events, the reactions must be parallels of each other through to a much lower degree (I can only hope).  It works for the anime considering that our perspective is from Hachiken’s point-of-view, but it’s just humorous to see how he’s the only one who really reacts to everything.  Then again, I’m sure the opposite would be true if you took these other students to Tokyo or some other metropolis and showed them all the neat things there, like delivery pizza in less than 30 minutes.

Monogatari Series Second Season (Episode 8)

The Monogatari series is pretty much a string of conversations between two characters, dialogue that composed in such a way to match two personalities together with a variety of topics and events that comes to tell a story while also being entertaining and thought provoking.  To me, the best pair in terms of comedy has to be Araragi with Shinobu.  When those two are together, when those two personalities are paired, the writing seems to excel in terms of comedy.  While other pairings match better in terms of philosophy or romance or are comprised entirely of wanton sexualization (*cough* *cough* Kanbaru), every pairing has at least some shades of comedy in it, though the styles vary depending on the situation.  Nevertheless, Araragi and Shinobu always seem to be the most entertaining and comically satisfying as compared to all the rest.  That’s not to say that the others aren’t funny as I am particular to Senjougahara, Karen and Tsukihi, but that I find myself smiling the most and laughing the most when it’s just Koyomi and that blonde vampire.  That being said, I can only hope that we see more of Araragi and Shinobu together once this story arc is concluded.

Genei wo Kakeru Taiyou (Episode 8)

*Spoilers*

It takes guts to kill a character.  And it takes even more guts to kill a pleasant, cheerful character that many people liked or enjoyed.  But it almost feels disgraceful or shameful for Genei Taiyou to kill off Ginka like that.  It almost felt as though the series was killing her off for the sake of killing her off, rather than for anything meaningful or significant to the series.  It’s like they did it because they wanted to do it, not because it fit into the story or was necessary for the story or the characters to continue.  It’s as if they realized it would be cool or awesome or it was going to make the anime better or more dramatic if its cast was murdered towards the end of the series.  And maybe it is, but I can’t help but wish that this death was done justice.  That it was done better.  That it actually carried some weight and significance beyond watching a cute girl die some horrible death.  I do understand that these deaths may play a more significant role later on the series and more on Akari’s character, but I can’t help but criticize the way it was handled in Genei Taiyou and that’s the main issue I have here with this episode.  I can only hope the series quickly learns from this lesson before Luna and Seira face the same terrifying fate.

Gatchaman Crowds (Episode 7)

Have you ever wondered what the Gatchaman would be like without Hajime?  Just how backwards or bad their little organization would be without her thinking and fixing and making everything better?  Hell, they’d probably still be messing around with MESS and have no clue about what to do with Katz.  Didn’t it take like one or two episodes for Hajime to fix the MESS mess and have the story jump over to the whole Crowds/Rui/Katz issue?  And even now, she’s pushing the story through at blazing speeds, never wasting a moment for the story to take the next step, then the next one until it’s at a full-on sprint.  And what does this say about her compatriots at the little, secret Gatchaman hideout?  I think it says that they’re just bad or lazy or stupid.  Or at least, that’s what it says to me.

This week: appreciating the use of color and lighting in Monogatari Series Second Season, thoughts on the specific location of human settlement in Shingeki no Kyojin, how Sonora’s addition shifts the character dynamics of Stella Jogakuin Koutouka C3-bu, and ideas on how to improve upon the detective/mystery carousel which is Danganronpa.

Best episode of the week: Genei wo Kakeru Taiyou

Anime trending up this week: Shingeki no Kyojin

Anime trending down this week: Servant x Service

Uchouten Kazoku (Episode 9)

So how exactly does tanuki society work?  Like, not just the election of Nise-emon but what Nise-emon does.  Besides misguided and empty respect, what does this position entail that makes it so coveted?  Or hell, what does anyone else for that matter, too?  Do any of these tanuki have jobs?  Who makes money?  And how do they afford to live in these homes, let alone feed and clothe their families?  It really isn’t clear besides the fact that they’re all sorta mooches who run around Kyoto with superficial problems on their mind (besides being killed and eaten on New Year’s Day).  Either way, I don’t really see how this type of society is sustainable or even stable considering how no one seems to do anything.  And considering that the series is almost at its climax, I doubt we’ll ever really see anything that describes the setting beyond what we’ve already seen.  Kinda sad since I find their little tanuki society to be one of the more remarkable aspects of this anime.

Tamayura ~more aggressive~ (Episode 9)

Finally!  FINALLY!!  …some conflict in Tamayura.  Here I was, sitting there and watching Tamayura this season and thinking that there’d never be any sort of conflict in this anime.  Ever.  How everyone would always love Fu’s photographs and how everyone would be nice to each other and smiling or joking around.  Then comes this old businessman who doesn’t give a shit what anyone else thinks and isn’t afraid to give his honest and critical opinion on Fu’s work, even if it hurts the fragile feelings of others around him.  I love it.  I love it, not because it made Kanae cry and all the other girls feel uncomfortable but because Fu took his words and his advice and his opinion.  I love it because it showed Fu’s resilience to such criticism and her attitude to her audience.  And I love it because it finally felt like Fu’s character was growing as a result of an external source.  It was the first time anyone or anything has challenged Fu and, by seeing her response to something that the anime intended to be harsh, I felt she handled it extremely well.  As a character, Fu should be exposed to these kinds of people who will help push her or pull her on various aspects of her photography, to try new things and to see how she likes them.  What was given to Fu in this episode was the opportunity to respond to honest criticism and to improve upon her photography as a result.  And although she ultimately decided to retain her old style and take photos with her father’s old camera, she was able to use this challenge as a means to understand what she wants from her photography, which is perhaps more important to her than becoming a better photographer overall.  And all this from just one bit of conflict derived from a differing opinion.  I love it and it shouldn’t be surprising that this is probably my favorite episode of all of Tamayura.

Stella Jogakuin Koutouka C3-bu (Episode 9)

Having Sonora back in C3-bu really changes the dynamic of the series.  Why?  Because without Sonora, Yura was the only strong character in the series and the anime revolved itself around her.  Now with Sonora returning to the series, her presence will challenge Yura for this dynamic and the two forces will compete against each other.  What this means is that Yura is no longer unopposed in C3-bu.  Sonora has the command, respect and presence to step up to Yura and to direct the other characters around her.  And since Yura has gone all militaristic and hard-ass on everyone, it’ll be easier for Sonora to show her force and have everyone gravitate back toward her character with her sense of understanding and having fun.  Of course, considering the strength of Yura’s character, it likely won’t be a quick and easy process, but at least the dynamic of the series will change now that Sonora is out of the hospital and back with her friends in the C3 club.

Silver Spoon (Episode 8)

I don’t get these food looking good/tasting bad jokes in anime. How do they cook things wrong but make it look great?  I mean, unless the quality of the food was bad to begin with, how do they make these dishes so wrong?  Shouldn’t the food be burned or blackened or raw or frozen or discolored otherwise?  And even if the spices or flavoring is off, like when they mess up and use salt instead of sugar and vice versa, it’s not like it’s the worst thing ever.  I guess I just don’t understand that joke.  Or maybe I just want variation on it.  Since cooking jokes are a dime a dozen in anime, maybe it’s just reached that threshold where I don’t find it funny anymore.  Then again, I don’t think I’ve ever found that joke funny to begin with.  But don’t get me started on those jokes where the food looks bad and then the character tastes it and it’s amazing.  Now those jokes, I absolutely love. Can’t get enough of them.  They’re anime gold.  Really, the pinnacle of Japanese anime.

Haha, just kidding.  No, they both suck.  Like, really suck.  Cooking jokes in anime are literally the worst.

Shingeki no Kyojin (Episode 21)

I’ve always been curious about the geography and location of the human domain in Attack on Titan; the last remaining realm of safety encircled behind these gargantuan trio of walls.  Why here?  Why was this designed at the safe zone?  Who coordinated these walls and for what purpose did they design them to include or exclude?  What is the significance of this forest or the mountains or why not extend it or constrict it in certain areas as a result?  Little by little, we’re able to piece together various tidbits and aspects of the setting of Titan and the world of Titan with every passing expedition.  Seeing these landscapes does help paint a better picture of what this world is like and why certain people live in the areas they do.  Not only that but with Eren’s goal of exploring the world as an objective of his at the beginning of the anime, there’s certainly hope it will be accomplished and that he’ll be able to explore the world.  I share that romanticism too, wanting to see what’s beyond those towering walls.  Wouldn’t that be something to end the series with?  I know I’d love it if that were the ultimate goal of Shingeki no Kyojin.

Monogatari Series Second Season (Episode 9)

Art, animation, style, color and presentation are just various components of the mesmerizing and enchanting aesthetics of Monogatari.  The franchise has always had a way with its visuals to entice the eyes of its viewers.  And the way the anime is staged, through distinctive cinematography and directing, the series is able to stay fresh, bizarre and unique.  Of particular note is the use of color, lighting and how the contrast seen here helped to enhance the story of Monogatari.  Now I don’t claim to know all the technical details beyond why I like it so much, but I’ve always had a thing for anime where color and lighting play significant roles in the visual style and help impact or influence the anime in whatever capacity possible.  With the ninth episode of Monogatari, the contrast in color and lighting at the shrine, with its various visits throughout the episodes and in different time periods, helped differentiate each and every visit.  With this visit in particular, the pale, cold colors of Araragi and Shinobu helped express their emotions of concern and surprise.  This contrasted nicely against the foreboding blood red background, not only to transition the scene to night to further express the gloom of their situation but to also express danger or warning.  It isn’t anything particularly powerful or noticeable but it’s a gorgeous, charming touch that I can’t help but enjoy from this anime.  Then again, what don’t I enjoy from Monogatari?

Genei wo Kakeru Taiyou (Episode 9)

The story of Luna, one a fragile girl with a troubled, lamentable past, has always been sad.  Her character has always been sensitive and emotional and her connection and attraction to Akari has always been a prominent feature of her character.  She was always compassionate and sympathetic, being there for Akari when she joined and listening to her when she claimed to hear the inner voices of the Daemonia.  So to see her character taken advantage of like this, especially after the heartbreaking demise of one of her best friends, you can’t help but feel sad.  Sure, it’s a bit melodramatic on how everything played out but it doesn’t change the fact that her character was vulnerable and she was exploited.  Her loneliness, timidness and regret will now go unattended and unresolved.  It’s sad to see that her character was never able to overcome these challenges and that her strengths were turned into her greatest weakness as a character.  I can only hope that there’s some resolution with Luna, especially since Ginka was able to have some solution and purpose for her character last episode.  However, I’m not sure what will happen to her now that she’s turned into a demonic, naked werewolf girl but hopefully we’ll see her character concluded after going through so much over the course of the anime.

Danganronpa the Animation (Episode 9)

Two things that’d make Danganronpa better would be if the main character, Makoto Naegi, were actually targeted or killed in a murder and the series continued without him.  The other would be if he actually planned out and committed a murder, either earning his freedom or earning his execution.  Of course, neither of these would be true to the game of which this anime is adapted on, so there’s no chance of that, but just think of how much more interesting and stimulating or exciting it’d be than compared to just playing detective every episode.  Hell, if there was some action and excitement in this anime, then just think of how much better it’d be.  I’d welcome any capacity of fighting in this anime.  Not only that but watching Makoto try to plan the perfect murder, all the details about choosing the right characters and getting everything right or wrong in the murder process… now that’d be fun to watch.  As for Danganronpa now, it’s the fourth time around the merry-go-round and I think we’ve seen just about all this series will have to offer.

This post reviews: Gingitsune, Yozakura Quartet: Hana no Uta, and Non Non Biyori.

Looks like there will only be one more of these previews with the last few remaining anime covered there and then moving onto my Weekly Anime after this.  All that’ll be left after this is to decide which anime to write about each week.

Watching:

Gingitsune

The first episode of Gingitsune was a mix of positives and negatives, but the negatives were more along the lines of worrisome problems than the anime being bad.  It’s more that I have a sinking feeling that this anime will deteriorate as it continues than anything else.  The main reason why I feel this way is that there was very little excitement or energy from the cast and no real foresight on problems or conflicts to build on.  Sure, the setting is cheery with a school-age shrine maiden who can see and communicate with a messenger of the gods named Gintarou.  I like that.  And I enjoyed the honest, genuine feel of the characters and their interactions with each other.  It isn’t over-the-top or unbelievable but realistic problems where a girl gets mad at Makoto because she was hurt by her advice.  That’s great, too, brilliant even.  But it didn’t really set up anything for the long term, such a goal for Makoto or a struggle that both are needed to solve.  Instead, I wonder how long the anime will be an episodic slice of life anime like this one.  Sure, the anime might be fine, but episodic anime are largely hit-or-miss and I can see a number of misses if it’s tame or dry.  That being said, I am sufficiently intrigued by Gintarou’s character and his relationship with Makoto.  The fact that none of the previous shrine maidens had personal relationships with Gintarou is sure to set up for some wonderful development with his character and his blunt yet honest personality makes for a fantastic pairing with a stereotypical moe girl lead (thank heavens it’s not another angsty teenager or perverted idiot).  I’m looking forward to that and I’m also looking forward to how Gintarou will influence Makoto’s character, too.  The art style is lovely though the execution is somewhat sloppy at times, especially with some of the insignificant animation.  I know that’s being nitpicky but there were times when it looked off.  And that’s really the final negative I had with this anime.  Everything else was pleasant and I’m looking forward to more episodes soon.

Yozakura Quartet: Hana no Uta

First and foremost, did anyone else notice the seamless and fluid transitions between 2D and 3D animation in Yozakura Quartet?  The animation director (Satonobu Kikuchi) and anime studio (Nomad) turned out a marvelous performance with this episode, making the switches between 3D models and 2D drawings almost unnoticeable.  The two styles complement each other, with simple 2D character designs that parallel the 3D models and 3D characters with cel-shaded expressions that reflect appropriate anime facial expressions and movement.  I mean, if it weren’t this great, I don’t know if I’d want to keep the anime or not given how I dislike 3D modeling but this first episode really left a positive impression on me.  As for the actual content of the anime: it’s good but not great.  The setting is pretty much wonderful, an enjoyable mix of magic and monsters, chaos and action and features a mysterious cast of villains who are quite a bit more vibrant and interesting than the trio of school kids and an adorable blue-haired catgirl.  I appreciated the use of superpowers as a means of combat and the action sequences were fun, but I can’t say the same about the rest of the first episode which was best summarized as ‘meh’.  It was pretty slow at times but you figure that’d happen with the content was focused on introductions rather than fighting giant runaway goldfish.  There were frequent pantyshots spread throughout the first episode, but none where shoved in your face leading me to believe they wanted to include some panties but not to go too overboard and devolve it into a shitty ecchi anime.  It would do fine without it but I imagine there will be fanservice throughout this series because why not?  I’m excited to see where this story will go and what the characters will do but I’m not expecting anything profound to be explored here nor do I expect the characters to mature or develop into fascinating characters with sophisticated personalities or elaborate details.  In fact, I’m just hoping this anime is fun and not much else.  If it’s able to deliver that, then I know picking up Yozakura Quartet for this season will be worth my time.

Undecided:

Non Non Biyori

Non Non Biyori isn’t the comedy I expected it to be, so I need to adjust my expectations for this series to see whether I want to keep it or not.  And while Non Non Biyori had plenty of comedy moments, the jokes were just spread way too thinly throughout to keep me sufficiently entertained and the focus was entirely more slice of life than comedy, so that set me up for a bit of disappointment with this episode.  That being said, knowing this is a slice of life anime, if I adjust my expectations and what I want from this series, then I’ll have a better idea if I want to keep it or not.  That being said, I did enjoy the comedy and the slife aspects but I also found myself bored through parts the middle parts of the episode.  I just wish more happened in each episode since certain jokes had lots of dead space and dragged on longer than they should have.  At least the comedy was all based on the oddities of rural versus urban life rather than a single straight man YELLING AT EVERYTHING THAT HAPPENS.  It was a rather pleasant, relaxing episode to watch and it might fill the void left by Tamayura ~more aggressive~.  I’ve always loved the rural Japanese setting and this anime is no exception.  The art style is basic but fits the bill for what the anime wants to be which is simple and fun.  And I like simple and fun, just that I was expecting a little less simple and a little more fun.  All in all, Non Non Biyori is a decent anime, just not what I expected and not what I wanted it to be.  If it continues to be enjoyable or amusing in the next couple of episodes, I’ll continue through to the end.  Otherwise, I wouldn’t lose sleep over dropping it and focusing on some other anime instead.

Dropped:

Nothing dropped from these three but I’ve scanned through pretty much everything that hasn’t been reviewed yet and given them a simple ‘no’.  It’s been pretty easy this season.

This post reviews: BlazBlue: Alter Memory, Tokyo Ravens, Galilei Donna, and Samurai Flamenco.

This is the final part in my series of my First Impressions posts on the Autumn 2013 anime season.  Anything that wasn’t reviewed in these posts was already dropped prior to the season beginning, thought I did watch a few episodes for shows that I never considered keeping.  Some were not as bad as I had originally envisioned and others were right about where I expected them to be.  However, none were good enough to justify keeping, so we’ll leave it at that.

Watching:

BlazBlue: Alter Memory

I like dumb anime, but I only like a certain type of dumb anime.  And fortunately for BlazBlue: Alter Memory, it’s that type of dumb anime that I like.  It’s one that consists of mindless entertainment in the form of crazy, over-the-top battles, a ridiculous ‘who cares?’ storyline and a cast of vibrant and amusing characters that match the wacky attitude of this anime.  And that’s it.  That’s all it needs.  All I wanted from BlazBlue was to be a silly fighting anime with frequent fights and a storyline that doesn’t oversaturate and bore the audience to sleep.  I think the show knows that the audience just wants to see people fighting each other and so far, it delivered with two adequate fights in the first episode (three if you add that little skirmish with Taokaka).  And with probably a dozen characters left to introduce, it knows it can’t skimp on the fights because otherwise fans of that one lesser character are gonna be pissed and complain.  I’m perfectly fine with the balance of the story and entertainment at this point since it can’t be just random, arbitrary fights the whole time, so hopefully it can maintain this balance until the finale and then do whatever the hell it wants.  I do have to admit the production values for this anime are rather careless (the OP sequence was made entirely out of clips from the episode… meaning they didn’t get it done on time or have no clue what the hell they’re doing) and fight sequences were shoddy.  My two worries moving forward are related to the lack of animation quality during fights and if the anime decides to spend more than a minute on the story in each episode.  If it manages to keep either aspect from becoming a problem, then BlazBlue should be one of the more entertaining anime of the season.

Galilei Donna

I’m not really sure what to think of Galilei Donna after one episodes but I like what I’m seeing from it.  The first episode decided to take the approach of making everything exciting with the entire episode comprised of chaos and action instead of matching monologue with monologue of tepid introductions and character backgrounds.  That’s not to say we didn’t receive any of that vital information but it was largely communicated through expression and action rather than the girls saying, ‘I’m a lawyer/karate champion/engineer’ and ‘we’re all sisters except we have absolutely nothing in common with each other.’  The art and animation are pleasing throughout the entire first episode and the music is already a favorite compared to the other shows this season.  There’s a lot of color and movement in this anime.  The story is more than a bit complicated at this point with the information we’re given, so I can’t say too much about it right now.  It seems suitable so far but I worry it will devolve into the sisters learning about each other and becoming close siblings and fighting this super-secret evil organization through each expertise (law, karate, robotics) and then live happily ever after.  I’m already feeling a bit nauseous after typing that out and I pray that the story won’t go down that route but it has the building blocks in place for this unfortunately familiar and formulaic story.  If that turns out to be the case, I can regret that later.  For now, Galilei Donna is a keeper.  Also, that dad is kick-ass awesome.  I hope he doesn’t die anytime soon.

Samurai Flamenco

Most of the anime that I love and cherish are fun, flashy, sexy anime with style, sparkle and flare.  Samurai Flamenco isn’t that.  The remaining anime that I love and cherish are shows with hearty and valuable “substance”, abstract concepts and ideas about various subjects that build upon each other and mature as the show progresses.  Samurai Flamenco might be that.  I don’t know what it is or when it happened but Samurai Flamenco really clicked with me in this first episode.  There’s just something about the two guys, sitting around and watching reruns of old hero shows, and exchanging thoughts and theories on justice and curry.  Maybe because I identify with the concept so well when watching anime or whatever with friends?  And the constant conflict and bickering between the two sides… somehow that’s familiar as well.  I certainly enjoy seeing the angle of the normal cop (who’s like me) argue with the irrational idealist (all my friends) whenever they get together.  It’s just so much fun to see that reflection in this anime, and I found it oddly satisfying, in almost a romantic, idealistic sorta way.  As for the anime itself, it’s not really my cup of tea.  I’ve never really been a big fan of ‘heroes’ or ‘justice’, probably because I always identify with the villains and their wacky ideals in anime as more entertaining or engaging devices.  It was like that with Lunatic in Tiger & Bunny and I hope I have the opportunity here too should the role for a villain or antagonist be required.  The art and animation weren’t really tested in this first episode without much in a way of displaying it, but it’s fine for what it wanted to do with its first episode.  I do enjoy Hazama as the helpless romantic as a driving force in this show but my favorite is Goto, the rational cop who’s trying to talk sense into Hazama will identifying his own idea of ‘heroes’ and ‘justice’.  This might not be the fun, sexy or even popular anime of the season but it might be one of the best “substance” anime of the year for me.

Undecided:

Tokyo Ravens

After watching the first episode of Tokyo Ravens, I found myself feeling a bit of ambivalence to toward the anime.  I thought I enjoyed the first episode but I also thought I was trying to force myself to like the first episode.  At times I was bored but at times I was entertained, too.  The characters are decent but none are neither great or terribly pathetic (though the main guy is somewhat pathetic at this point).  The story seems messy in its presentation in this first episode but, honestly, who’s watching this for its story?  The setting is the only thing I can take away from this episode as a certain positive since the idea of shamans battling random stuff seems cool but the execution of that aspect, not to mention a rather tame modern Japan backdrop, took away from of the glamour and excitement.  And the music that I loved from the PV was only passable rather than an exclamation point.  So in summary, I’m still really mixed about this anime.  Right now, seeing how heavy my plate is this season, I’m expecting to drop this anime after another episode but I want to give it one more shot to see if this is what I really want or if the anime can make me change my mind.  Hopefully it won’t take 24 minutes to do just that but if it does, then I can make some room if this proves to be better than the worst anime I’m watching this season.

Dropped:

Nothing dropped from this review either.  That means that this season will be quite a busy one, although that’s a byproduct of the quality anime this season and not that I’m bored and burdened with free-time.  Actually, it’s quite the opposite, but my schedule should clear up nicely when I move back home.  Hopefully then my Weekly Anime posts will come out at an appropriate (or even reasonable) time each week.

This week: newfound respect and appreciation for Nadeko in Monogatari Series Second Season, comparisons of KILL la KILL to Tengen Toppa Gurren Lagann and Panty & Stocking, the mismanaged emotional aspects of Coppelion, and questioning how the profession of modeling impacts the themes of heroes and justice in Samurai Flamenco.

Best episode of the week: Kyousogiga (TV)

Anime trending up this week: Nagi no Asukara

Anime trending down this week: Little Busters!: Refrain

BlazBlue: Alter Memory (Episode 1)

My opinions on how the story should inpact BlazBlue have already been established in my preview and first impressions posts, but I can’t keep my mind off the subject knowing how much time was spent on it during the first episode.  Stories have traditionally performed poorly in fighting anime like these with a cast of characters numbering over a dozen.  Often times, these fighting anime follow a formula which, with every new episode, introduces a new character, their backstory, their relevance to the overall story and their fight.  That’s the type of pattern that lead to the disaster of Queen’s Blade.  Instead, hopefully the story of BlazBlue bounces around between characters and their connections with the story, focusing more on the fights than anything else.  Honestly, I’m hoping the story follows something along the lines of Senran Kagura, an anime which spent around 30 seconds on backstories but did enough to explain everything before moving onto the fights.  Sure, I’m hoping BlazBlue will be better than Senran Kagura, but it seems to be the benchmark for stories in fighting adaptations, so there’s some identifiable and realistic goal for this anime to reach and hopefully surpass.

Coppelion (Episode 2)

The emotions in Coppelion were the only major drawback from this second episode.  It felt as though the emotional aspect of this episode was mismanaged at several crucial moments and lead to the episode’s overall effect feeling compromised.  For example, the emotional build-up was often absent from the emotional scenes.  The mother protecting her daughter in the slanted hotel, Ibara’s speech on her purpose in life, and the impact of the two deaths all felt too strong or came on too quickly for the audience to match or sympathize with.  And, as a result, the two deaths in this episode felt cheap and ineffective.  I’m not quite sure where the blame should be assigned, whether in the story itself, the writing, the pacing or the personalities of the characters but it just felt like a wasted opportunity.  I do expect that Coppelion will be able to improve on this aspect since it was the only significant flaw in this episode, and the other areas that involved the story, writing, pacing and characters were all fine.  Maybe once it embarks on the overall story rather than this episodic content will it begin to correct itself.

Freezing Vibration (Episode 2)

Not only is the second season of Freezing already superior to the original in just about everything but the anime has even improved its aspect ratio!  It felt incredibly awkward to be watching a 4:3 anime in 2011 when the first season aired and still remains to this day to be the only anime that I’ve blogged in 4:3 ratio (check out all those old screenshots).  Now that Freezing has caught up to the rest of anime and presents itself in 16:9, it feels like a much better anime from just its display alone.  I never realized how much of an impact the difference in aspect ratios could be but with Freezing as an example, I can tell how much better 16:9 is than 4:3.

Galilei Donna (Episode 1)

How did Hozuki, the youngest character in the Ferrari family, find the time, money, fuel and weapons to construct that floating airship that we saw in the first episode?  Like, let’s just think about that for the moment… the fuel… who was going to sell her barrels of whatever to get that thing moving?  And the weapons?  Let alone that, how did she manage to construct that beautiful fish artificial intelligence and also fly the flying behemoth without any issues (I’m assuming she didn’t test it in flight before this maiden voyage)?  And all in secret, too, without anyone possibly knowing?  “Yeah, you can have this giant, underground basement hangar thingy, we’re not using it for anything.”   It’s always fun and great to see stuff like this in an anime where someone comes to the rescue in an awesome airship like this, but they always require a bit of suspension of disbelief when it happen.  But this?  It’s fine for most anime, but for Galilei Donna, how do you even begin to explain it?  Where do you start?  Unless we have some super-powered girl here who is able to build whatever she envisions just by envisioning it, then I’m not really buying it.  And as for the other older daughters whose specialties are law and karate… I’m expecting a lot more from them now after witnessing Hozuki’s heroics in episode one.

Gingitsune (Episode 2)

To start, I’m fine with Makoto being the only one to see Gintarou.  For now, it’s a great way to strengthen their bond without any other characters trying to interfere save for the father who mockingly calls out Gintarou whenever his daughter is found alone talking to herself.  However, as the series progresses, I hope other human characters are able to see Gintarou as well.  For one, it would help expand Gintarou’s character beyond Makoto and allow for his marvelous character to impact others in a direct manner.  Imagine if he’s able to do something with someone else to aid Makoto rather than doing it through her.  It would definitely expand the possibilities and potential for Gintarou’s character.  For another, what’s the point of only having one character see these spiritual entities?  It seems like there are other divine characters and mystical bodies as well, so it bodes well for this idea that others will see Gintarou eventually and interact with others besides Makoto.  But with those two points, I’d also like to reiterate that the main interactions of this series should be between Gintarou and Makoto.  I don’t want the series to open so wide that everyone is able to see and interact with Gintarou because then that lessens Makoto’s character while also dispelling the mysticism and magic in this anime.  Maybe there’ll come at time when others can understand and respect Gintarou’s character later, not like what the father is doing right now, that would be an appropriate middle ground for this anime moving forward.  I guess we’ll find out as the series progresses (or if I go scan through my 20 issues of Ultra Jump on my shelf).

Kakumeiki Valvrave (S2) (Episode 13)

Valvrave the Liberator has always been silly and had a knack for outperforming itself episode after episode in the first season.  With the sequel having restarted with this first episode, the first incredibly ridiculous detail that exposed itself (besides that entire fight to start the episode) is that information is made out of undetectable particles called ‘runes’, that runes are used to power the Valvraves and that vampire-Haruto biting people drains them of their runes and powers their mechas  …yeah, that’s what they’re going with.  I’m not sure exactly what to think right now about this convoluted explanation as to why Haruto needs to keep biting people but I guess it serves that issue that was probably brought up over the summer.  My next question for Valvrave is, what are you going to do next to top this?

KILL la KILL (Episode 2)

The two anime that Kill La Kill seems to draw a number of comparisons to are Tengen Toppa Gurren Lagann and Panty & Stocking.  I understand where each comparison is derived from with a number of aspects and details in this anime drawing parallels to the others.  To me, I identify more with the TTGL crowd than the P&S one.  While the animation, art style, and comedy feel more like P&S than TTGL, I feel the characteristics of the character design, the story, the storytelling, and the setting mirror TTGL better.  But perhaps the most significant attribute of Kill La Kill is its attitude and emotions, which if compared to those other two anime are decisively in TTGL’s favor.  To me, these features are what’s dominating Kill La Kill thus far and the reason why it has become so celebrated and distinguished after only two episodes.  Its attitude and its emotions are the reason why it’s drawn such acclaim.  And to me, this is the reason why we’re even comparing it to other illustrious and notorious anime like TTGL and P&S.  Sure, it can be silly at times like Panty & Stocking but its badass, kickass, me-against-the-world, against-all-odds mentality with Ryuuko standing against everything is where I draw the most tangible comparison.  And then, of course, by sprinkling on the other details mentioned before, I feel that the TTGL scale has more weight than the P&S one.  I do hope that as Kill La Kill progresses and develops as a series, it’s able to differentiate itself more from the other anime before it and distinguish itself as an elite anime, but considering that it’s in its infancy at this point with only 2 episodes, that these comparisons are appropriate for the time being.

Kyousogiga (TV) (Episode 1)

Kyousogiga has always been a franchise with a number of loose ideas running around without any relevance to each other.  It was like that with the first OVA and even more evident with the second OVA, so I was curious to see how all these thoughts and concepts and theories would tie together when it became a television anime.  Well, it didn’t take long for the series to grab these individual ideas, tie them down and number them in order.  The first real episode of the Kyousogiga TV series did just that by providing the entire backstory of the setting and the characters with this exceptional episode.  Furthermore, it did it in that same brilliant Kyousogiga way with style, color and fun.  Not only was the episode the best of the week but it laid out the foundation for the remainder of the series and the franchise to grow up from and blossom into an extraordinary and  remarkable anime.  By featuring this episode at the beginning, I’m thrilled and delighted to see what the remainder of Kyousogiga has in store for us.

Magi S2 (Episode 2)

Whereas most fighting anime have one method of fighting, Magi features three styles that each compliment and contrast each other while all deriving from the same origin.  In Magi, you can use enchanted items as Djinn Equips to transform any human into a super-powered, element-enhanced fighter.  If that’s too much, you could always sit back and rely on elemental magics, using them in a variety of manners to fight your opponents.  Or if you’re feeling really lazy, why there is of course the summons where your lucky Djinn could do all the work for you.  And if you want to add one more, you could even consider Morgiana’s style different than the rest and show that there are four ways to fight in Magi.  Not only does this provide variety and style to the anime but these various methods of fighting help compliment the character personalities and their roles in the series.  It’s an aspect that continues to grow on me the more I see of it and, with the anime already in the heart of the series, I hope to see more diversity within these styles as the series introduces more and more enemies, villains and opponents for our heroes to fight against.

Monogatari Series Second Season (Episode 15)

Nadeko remains my least favorite character in the Monogatari franchise, actually making herself worse with this episode, but I’ve discovered some newfound respect for her character that allows me to enjoy her more without me actually liking her.  What I appreciate about Nadeko’s character is that she is flawed as a human, incredibly flawed at that.  You can see her struggles as a character and the stupid, regrettable decisions that she makes and her reactions, attitudes and personalities.  You can see her selfish tendencies and the internal conflicts and struggles she deals with on a constant basis.  I don’t believe that the Nadeko Medusa arc was intended for us to ‘like’ her more as a character since it’s constantly exposing her flaws and highlighting her sins, but I do believe it was designed so that we can understand her character better and her role in the Monogatari universe.  When considering this, I’ve found a new admiration, respect and even approval of Nadeko’s character.  So while I still find her to be my least favorite of all the characters from Bakemonogatari onward, I realize she has a fundamental role in the series and isn’t just some wasted space that is forgettable or was regrettable.  Actually, for what it has done, this might be the best story arc thus far in Monogatari Series Second Season.

Nagi no Asukara (Episode 2)

How is Nagi no Asukara like Non Non Biyori?  Well, there’s probably a couple hundred answers that would answer this question correctly, but the one I’m going for here is that they both have schools with only four students.  Or rather, they did have schools with only four students.  While Non Non Biyori simply increased its total to five, the underwater school in Nagi no Asukara was closed and its four students (the only four we’ve ever seen or known or heard about) relocated to the one above sea level.  So that begs the question, where there ever any other students at the school underwater or did it only have four students like Non Non Biyori?  And no, I’m not entirely serious with this post, you can tell it’s mainly for fun, but it’s an observation I made after watching both anime and realizing that the schools only had less than a handful in each.  Maybe there were others in other grades in Nagi no Asukara, but for now, I’m treating it as an underwater Non Non Biyori.

Samurai Flamenco (Episode 1)

After one episode of Samurai Flamenco, I am curious to see how the profession of being a model will impact the theme of the series.  Considering that the anime is about heroes and justice, I find the role of police officer entirely appropriate.  But model?  How does Hazama being a model impact or influence the anime in any capacity?  I suppose it does provide him with an avenue of wealth and access to time for which to be a hero, but it doesn’t have the symbolic effect that Goto’s position as a cop offers.  Maybe the symbolism here is that he’s a model and a role model, but a role model to whom?  The only thing I can think of is that being a model will make his face known to others and make him potentially identified as a weirdo when he’s eventually de-masked but… honestly, how is that going to affect him?  He’ll lose his job but his job isn’t his livelihood.  I could understand that if he wanted to be a model AND a hero how this could impact the series with any significance, but if he were to lose his job as a model because of being a hero, then he’d shrug it off, put on his tight tights and chase after drunks and litterbugs along the streets of Tokyo.  So how will Hazama’s job of being a model impact the themes of justice and heroes in Samurai Flamenco?  I honestly have no clue.

Yozakura Quartet: Hana no Uta (Episode 1)

Although our introductions to the villains or antagonists of Yozakura Quartet have been minimal at this point, I find myself more interested in them than the good guys.  Not only that, but I think I even like them as characters better than the good guys, too.  Now it shouldn’t be surprising for me to state that since I do enjoy villains and antagonists more than most anime fans (as this characteristic of mine has been detailed in numerous posts previously) but we’ve barely spent any time with them and they already seem more interesting.  I’m not sure whether that says that our heroes are boring as characters or the villains have more potential with their wacky costumes or strange motives, but that’s how I feel right now.  The main quartet of characters in Yozakura Quartet are decent but really average right now with little in the way to differentiate themselves from other protagonists in similar anime; you’ve got a group of middle school kids with super powers who help anyone around them.  And while the evil characters are also a bit generic too, they’ve got a bit more style and attitude to them that make them seem a little more interesting.  Whether this holds up or not remains to be seen but I do find myself looking forward to the villains in this series more than the heroes.

This week: trying to find a weakness in KILL la KILL, complaints about the endless backstories in Kyousogiga, splitting the characters to revitalize Magi: The Kingdom of Magic, and trying to figure out what’s gonna happen in Gingitsune.

Best episode of the week: KILL la KILL

Anime trending up this week: Yozakura Quartet: Hana no Uta

Anime trending down this week: Blazblue: Alter Memory

BlazBlue: Alter Memory (Episode 2)

After two episodes of pretty much nothing but Ragna and Noel, is now the time we begin to worry about the remaining cast of characters in BlazBlue?  Well, if the anime’s dedication to its story is any indication, yes, now is the time to start worrying.  After two episodes of virtually the same material and characters, I have a feeling that BlazBlue will continue its focus like this from start to finish and use the remainder of the cast of fighters as background characters who pop up periodically with no reason to their appearance.  How they’ll even fit everyone in is still an area of concern for me, considering that the cast of BlazBlue is extensive and only two characters have had significant screentime in the first sixth of the series.  To me, the series is taking a step in the wrong direction and I can see the anime going downhill in a hurry.  Then again, it’s typical to start off slow in a fighting adaptation like this, so hopefully we can part ways with Ragna and Noel soon and focus on everyone else.  But then again, if the preview at the end of episode 2 is any sign, looks to be more of the same from here on out.

Coppelion (Episode 3)

I don’t like the whole aspect of contamination in Coppelion.  While it’s decent for the story, creating this inaccessible and secluded deadzone, the science behind it is largely suspect.  The mention of genetically engineered ion channels indicates that the contamination is particle based, that there are chemicals floating in the air that cause toxicity in everyone but the Coppelion girls.  However, if it is particle based contamination and the chemicals are known enough to design specific ion channels to create immunity, why not provide more information to create a clearer picture?  Why stop half way and only provide a half-assed answer to probably the most stimulating question of the series?  And if it is a chemical that’s causing the contamination, why isn’t it spreading from the epicenter and dispersing to other environments?  Sure, we know that this was all caused by a meltdown at a nuclear plant but how are there still certain areas with drastically higher concentration than others (unless the source of the contamination is still leaking materials)?  And what’s this about their other superpowers too, like super-sight and super athletic abilities?  Really, the scientific information here is suspect at best for a series that seems to enjoy using science as a significant point of emphasis.  However, I don’t intend to relentless bash the use of science in this anime since the idea of genetic engineering specific to the contamination is a pleasant sci-fi idea, like how microbes develop resistance to specific antibiotics.  And I’d love for Coppelion to go the full-mile in its answer to the contamination since it would help strengthen the anime overall.  Instead, it feels like Coppelion is quitting halfway with its explanations provided in episode 3, and it’s starting to leave a negative impression on me as a result.

Freezing Vibration (Episode 3)

Freezing Vibration is a substantial improvement upon Freezing, but what aspect of this sequel is the most meaningful or responsible?  Last week, I touched upon the change in aspect ratio, going from 4:3 to 16:9 (widescreen) as a noteworthy difference but that alone does not credit the improvement seen in the story or characters.  Could it be the reduction in ecchi fanservice?  Well, the fanservice is still considerable in this series and much more than anything else I’m watching, so it can’t be that though the series has gotten better at restraining itself.    Perhaps it’s the lack of a male presen… ah, yup, that’s it.  That’s why Freezing Vibration is so much better.  Not only was Kazuya’s character a boring waste of space in the first season, his role or importance was only ordinary or unexceptional besides being the penis every girl wanted to have.  So now with Kazuya’s presence effectively reduced to 30 seconds each episode, Freezing is able to focus on its performing or accomplishing characters, ones that actually perform in the story, moving it forward and accomplish tasks, like winning fights or having important conversations with each other.  It’s like the series realized what it needed to do to get better and it’s checklist consisted of widescreen anime, reduced/better fanservice and cutting the deadweight in the series… which just so happened to be Kazuya and whatever other male characters appeared in the first season.  Now, with Freezing moving forward with only its most important characters, the anime has seen significant developments and upgrades all around.  Hopefully the anime will continue on this path beyond this story arc since this is easily the best Freezing has ever been.

Galilei Donna (Episode 2)

Although the three sisters are promoted as the main characters in Galilei Donna, it’s clear that after two episodes, it’s Hozuki… and then her older, more useless sisters.  But as the series has progressed thus far, it’s not like the other sisters, Hazuki and Kazuki, have had any opportunity to shine.  So while it feels like the youngest sister is the sole protagonist of the series, I can’t help but wonder if the series will proceed in phases, where a certain sister takes the role of ‘leader’ and the other two fit the billing of ‘leader’s suitcases who she carries around’.  That is to say, maybe as the series progresses, Hazuki’s knowledge of law will aid the sisters where Hozuki’s mechanics and Kazuki’s karate are ineffective and, at a different time, it’s Kazuki who saves the sisters by kicking ass without much in the way of help from sisters #1 and #3.  I certainly hope the series finds more use out of Hazuki and Kazuki shortly since those two seem to be rather interesting as characters themselves but they seem ineffective and unimportant through the first two episodes.  It doesn’t have to be that the series progresses in phases where the sisters rotate the role of protagonist, just that they’re able to provide some use to the series besides being Hozuki’s older sisters.

Gingitsune (Episode 3)

So what’s gonna happen in Gingitsune?  Is there going to be some sort of conflict?  Some sort of antagonist?  Will there be some evil, villainous corporation who’ll try to demolish the shrine and Makoto and Gintarou need to work together to restore everyone’s faith in religion and save the shrine?  Or what?  What exactly is the central storyline moving forward for Gingitsune?  The first three episodes of Gingitsune have been episodic in nature without much in the way of establishing or developing a main storyline.  And considering the nature and characters of this anime, it doesn’t seem like this anime is a slice-of-life series with random, fun episodes either.  You almost feel as though this anime would have a singular, major plot that progresses through these twelve episodes but there’s been nothing thus far.  It’s a glaring chunk that’s missing from this series.  And even if the series does develop a storyline in the next couple of episodes, this first quarter of the series will feel like wasted space or a missed opportunity.  Then again, maybe Gingitsune is different than most anime and will follow a less traditional route with Makoto and Gintarou.  Maybe it doesn’t need a huge story to work through and it doesn’t bill itself as a silly slice-of-life anime.  But then, if that’s not it, then what exactly is Gingitsune?  I suppose as the series advances, we’ll slowly find out.

Kakumeiki Valvrave (S2) (Episode 14)

Now that Akari’s backstory has been explained and seemingly resolved, you can’t help but question whether we will see a change in her personality and see her more sociable as a result.  After all, the origination of her social anxiety was derived from Satomi, her older brother, ignoring her when she was bullied by university officials and classmates alike.  This left her emotionally scarred and damaged mentally, which led her to being secluded and isolated from everyone but Shoko.  But now that she’s sorta/kinda resolved the outstanding issue with her brother, you figure this will spur a change in her personality or activity.  No, I don’t expect her to be outgoing and making friends and striking conversations with everyone, but I wouldn’t be surprised to see her more proactive and talking more, especially with Haruto and the other Valvrave pilots now.  Then again, that silent-girl personality is a popular archetype in anime and it’s what has led to Akari’s character gaining popularity, so why would you tarnish her character’s strength?  Maybe if there’s some happy medium that the series can offer in terms of character growth and silent-girl archetype, then hopefully that’s what’ll happen.  If not, I’m willing to part with her older personality if it allows her character to make more of a presence or significance in this series.  After all, we had plenty of episodes with her shy/quiet personality already, so why not allow her character to develop like everyone else?

KILL la KILL (Episode 3)

Does Kill La Kill have any weaknesses?  After three extremely manic, enthusiastic, spirited and sexy episodes, Kill La Kill has immediately become arguably the most dynamic and entertaining anime of the season and perhaps, even for all of 2013.  Every episode is fun, thanks to its inane comedy and ridiculous fights, and the sex appeal is excessive but somehow feels appropriate or justified.  The characters have rich, vibrant personalities and fit their roles perfectly, performing their pieces with outstanding results.  And the setting is exceptional and unique; exceptional in its style and presentation with one versus a million and its unique with these living school uniforms that are the origin of power and authority in this world.  But what about the story?  What seems to be the limiting factor in Kill La Kill thus far, the story is well established and clearly understood, but it seems to be lagging behind every other facet of the series in its rather tame and ordinary plot.  Sure, specific aspects of the story have done wonderfully, such as the writing, pacing and dialogue, but the subject of the story itself seems like a snoozer.  It’s just very average compared to everything else in the series which ranges from astonishing to brilliant to incalculable.  But to return to the original point of this review, if Kill La Kill has any weaknesses, I’d have to say no.  To call the ‘story’ a weakness would be inappropriate considering how it supports virtually every other outstanding aspect of the series.  Furthermore, the story does have exceptional writing thus far, especially with its dialogue.  And while I do consider the story to be lagging behind everything else, I do appreciate a simple story done right.  To me, Kill La Kill does not have any weaknesses or deficiencies and is pretty much perfect just the way it is.

Kyousogiga (TV) (Episode 2)

So… when are these flashbacks and backstories going to end?  Since the original OVA aired in 2011, everything since (the 2012 OVA, the OVA revisited and these first two episodes of the TV series) has been a flashback or retelling of an older story.  Where is all the new material?  Where is the series moving forward?  I can understand why the series wants to establish its history before it gets too detailed in its current story, but why did we need all this upfront?  Couldn’t the series have made some progress and done its backstory when it was needed to explain details or events?  That’s typically how most anime document their story and it’s a pattern that works wonders.  Take Mawaru Penguindrum for example and its ability to infuse a gorgeous and impressive history into an anime without needing to pause the plot for hours at a time.  What Penguindrum did was it linked everything in the present to events or situations in the past and used it to propel the story forward with reason and relevance.  In Kyousogiga, we’re given everything all at once and we can’t find its significance or relevance until… whenever (or maybe never).  However, if the preview is any indication, it seems that the series will finally move forward for the very first time, since the release of the original OVA back in 2011.  Hopefully now we can finally see this anime develop like what was promised two years ago.

Magi: The Kingdom of Magi (S2) (Episode 3)

Splitting the main trio of characters and each pursuing their own path is exactly what’s necessary for Magi to rekindle the hype, excitement and adventure that was lost long ago.  When Magi started to grow stagnant and stale during the whole Alibaba/Kassim love story in the middle of the first season, the anime lost its sense of being a journey and its adventurous enthusiasm.  The characters were content with solving socioeconomic and political issues rather than exploring dungeons, meeting fascinating djinns and learning about the world they live in.  And so, the latter half of Magi became largely mediocre and wearisome.  So with the prospect of the three main characters each going their own ways and pursuing their own goals, I have a strong feeling that Magi will relearn and re-experience its sense of exhilaration and adventure.  The characters will each be traveling to new areas of the globe, meeting new characters and learning more about themselves and others in these exciting places.  After getting a quick dose of this split in the first half of Magi S1, I’m excited to see it again though on a much bigger and grander scale.  I’m looking forward to seeing what happens to Aladdin, Alibaba and Morgiana now that each will be away from each other for an unspecified amount of time.  And when they return back together, it’ll be interesting to see how this changes affect not only themselves but the series as a whole.

Nagi no Asukara (Episode 3)

Although the rule of banishment from Shioshishio is derived from a logical and practical conundrum, the idea of enforcing banishment in this modern era seems asinine and laughable.  The whole idea of banishment stems from the lack of ena, the special material used to breathe and survive underwater, of the child between a couple from above and below the sea.  Without the ena, one of the parents and the child will need to remain on land since neither could possibly live underwater in Shioshishio.  So, instead of tearing apart the family and living it to a single-parent, Shioshishio forced the responsible party out and excommunicates them to live on the land.  But why does this underwater society need to ‘banish’ these people?  Why not allow them the possibility of returning if things don’t work out, or if they want to return to visit their family for a weekend?  The idea of banishment is certainly extreme and unjustified, especially with the notion that it effectively reduces their dwindling population.  I understand why the practice came about and I understand why it’s present with the themes of this series being on multiracial societies and their conflicts.  But being set in this modern age, I fail to understand how this unwritten rule hasn’t been altered or modified to address how the current societies operate and intermingle.  Then again, maybe it’s used to show how asinine or silly these old rules are, even when it’s the consequent from a rational and actual problem that keeps people alive and families together.  It will be interesting to see how this applies to the characters of the series, especially Manaka, moving forward.

Samurai Flamenco (Episode 2)

The addition of Mari Maya, the popular idol from Mineral Miracle Muse, is certainly intriguing because of her prospects of joining Hazama’s ‘hero’ side of the anime.  Not only that but the idea of her becoming a sidekick or a member of Hazama’s hero team is thrilling and promising.  I had wondered about there being other heroes to join Samurai Flamenco and his pursuit of justice but never figured Goto would join given his occupation as a policeman and his rationale sense of justice and society.  However, in comes Mari who seems to be somewhat obsessed with heroes, similar to Hazama; she’s obsessive enough to recognize the Red Axe song during work but not obsessive enough to be a heroic vigilante herself.  However, after watching Hazama’s interview after her shower that night, you figure it’s only time before she creates her own costume and hero and fights crime on the streets like Samurai Flamenco.  I’m already looking forward to the moment when Hazama and Mari meet up on the street in their hero costumes.  I’m also looking forward to when they discover each other’s identities, too, since that should be priceless.

Yozakura Quartet: Hana no Uta (Episode 2)

The characters in Yozakura Quartet: Hana no Uta are an exceptional strength.  Not only do each of the characters possess their own fun personality that work extremely well with each other but their appearances, whether it’s their unique costumes or their subtle youkai/beast details, are a significant reason why I enjoy this cast so much.  Yes, of course, you have the generic male lead with short, black hair and a handful of schoolgirls, but the wild assortment of costumes beyond them are wonderful.  And the cohesion between humans and youkai is a pleasant aspect that allows this series uses to its fullest advantage, allowing catgirls(satori) and ogres(oni) to walk alongside your normal, everyday humans with superpowers.  Not only that but the casual demeanor of the cast and their collective mentality bring out the fun in this series, like how Hime, Kotoha and Ao acted during their practice brawl before it almost turned ugly.  I’m not too sure what to think about the other aspects of this anime like the setting and story, but the characters are an unquestionable positive and their impact on this anime is indisputable.  But just how much of an impact they have and whether that’s enough to make up for the other aspects remains to be seen.

This week: an analysis of Mako’s character in KILL la KILL, developing the racist schoolgirls into characters in Nagi no Asukara, enjoying the level of detail in the setting of Samurai Flamenco, and pretty much hating the Galileo aspects of Galilei Donna.

Best episode of the week: KILL la KILL

Anime trending up this week: Nagi no Asukara

Anime trending down this week: Magi: The Kingdom of Magic (S2)

BlazBlue: Alter Memory (Episode 3)

Perhaps the most damning or damaging aspect of BlazBlue: Alter Memory, at least from the perspective of newcomers to the franchise, is that the setting is still an esoteric enigma.  The anime has done little or nothing to explain who the characters are, what these organizations are doing, where the story is located and what they have in relation to each other.  The story just goes on choo-chooing ahead without a care in the world for the audience, a confused mass who are left trying to piece together a puzzle with the pieces locked behind closed doors.  I’m beginning to wonder if there was a prerequisite course before watching this anime that consisted of playing the game and beating it with every character, but even then, I figure you’d still have no clue at what’s going on with the lack of exposition and explanation going on.  This anime is slowly becoming a mess, so hopefully the fighting picks up so that I can ignore these mounting deficiencies.

Coppelion (Episode 4)

The fact that Coppelion takes itself seriously is the best thing going for it.  Having the characters, and the anime itself really, straight-face the entire countdown sequence, from knowing that the old man had EXACTLY 10 minutes to live, with a timer no less (and let’s disregard age, weight, exposure, other acute or chronic medical conditions, etc. that would obviously change the 10 minute window) and shooting him with the medicine when the girls themselves have no timer or stopwatch to know when the times up, was nothing short of brilliant.  Like, just doing that gives Coppelion me a reason to watch it.  And let’s not forget the other classic moments of this episode, like shooting down a stealth bomber with a single surface-to-air missile, the high speed chase through a golf store for 1 minute (to be fair, the store was probably 1-2km long), and the phony emotional overkill.  Although Coppelion doesn’t intend itself to be a hilarious anime, I can’t help but find myself laughing at this more than any other anime this season.  As long as Coppelion can continue to be a beautifully drawn trainwreck of an anime, I’ll have a reason to keep watching it.

Freezing Vibration (Episode 4)

Shifting the focus away from Satellizer and Kazuya and toward Elizabeth and Amelia has taken Freezing’s story in an enticing new direction.  While the first season was adequate in its story, taken from the perspective of Kazuya and Satellizer, the sequel has branched off to form something new and exciting without starting anew.  The plot of Freezing Vibration certainly draws from the original and from Satellizer’s character, especially since it was her data that was used for the Mark IV experiment, but it’s the major characters in this story arc which is what make it interesting.  Had it been Satellizer and Kazuya spearheading the storyline, it may have been decent and interesting but their characters would feel like those shounen heroes who do everything to fix every little problem no matter their relation to it.  With this storyline on Elizabeth and Amelia, it has shown the importance of this E-Pandora project to people besides the main protagonists.  Furthermore, it’s shown through the eyes of characters who have a more significant struggle or conflict with the project than Satellizer or Kazuya.  In fact, by taking this sequel in a new direction with all these new characters have aided in making Freezing one of the better sequels I’ve seen in an anime, in terms of improvement over the original.  I figure as this story continues, the perspectives will blur as Satellizer is making herself more important in these recent episodes, but for the time being, I love the new direction Freezing Vibration is taking.

Galilei Donna (Episode 3)

If Galilei Donna wasn’t revolving around Galileo Galilei like the Earth revolves around the Sun and asserted its own independence in its story away from this historical figure, then I’d wager a bet that this anime would be better.  Really, the whole aspect of Galileo Galilei as a central theme seems decent but it doesn’t really carry any significant weight in the anime nor have a dire impact that makes it meaningful.  To put it plainly, it’s inconsequential that there’s anything to do about Galileo in this anime.  Why not choose Leonardo da Vinci or Alexander the Great or Ghengis Khan or King Arthur?  At this point, it seems arbitrary that there’s anything related to Galileo in this anime.  You could make an argument about Hozuki’s engineering but, unless Galileo was a blackbelt in karate, I don’t see how Kazuki’s specialties relate at all to this theme.  And this whole ‘Galileo’s Secret Treasure’ plot reeks of a horrible Hollywood screenplay, further illustrated by throwing in evil organizations and sky pirates to make the anime slightly less boring but much more off-topic.  And to make it even worse, now there’s some sorta magic behind everything, too.  Ugh.  Maybe trying to ignore or overlook these distinctive ‘Galileo’ details will make the anime slightly better but the story is hardly the selling point of this anime.

Gingitsune (Episode 4)

The addition of Satoru Kamio isn’t exactly what Gingitsune needed.  Sure, it was necessary to establish a male presence in this anime beyond Gintarou but, by introducing a quiet, introverted and completely featureless male lead to counter Makoto’s character, I feel that Gingitsune has performed subtraction by addition.  Satoru’s character is completely underwhelming and boring, a tedious collection of anime clichés like dead parents, unfriendly foster parents and a supernatural ability that paint his character as unremarkable as black text on a white background.  And Haru’s no better either.  Haru’s character immediately undermines the role of Heralds in Gingitsune, turning the respected and revered position into a childish mockery of something sacred.  While Gintarou is calm, calculated and intelligent, Haru is a whiny brat who shows his immaturity through harassing his new caregivers and ignoring his best friend’s wishes.  What should’ve been a boon for the series with the addition of a new successor and a new herald has instead has been a bust.  It’s going to take some time for the series to recover from this event, especially if it detracts or distracts from the excellent chemistry that we saw between Makoto and Gintarou.

KILL la KILL (Episode 4)

What would Kill La Kill be like with Mako?  I shudder to think of what the series would be like, but after watching the fourth episode of this phenomenal anime, I’d like to entertain the thought for a moment.  Imagine if this anime were entirely Ryuuko on her own.  Well, maybe not entirely on her own since Senketsu goes wherever Ryuuko goes, but it’s not like he’s always conscious or always speaks.  The story would remain virtually the same provided that Mako and her family provide shelter for Ryuuko and that Ryuuko has saved Mako a couple times though those sequences are largely inconsequential to the overall plot.  Ryuuko would probably do fine without Mako’s character too, though you’d have to wonder how long she could go alone… even though you figure she likes her current persona, calling herself Ryuuko, Kantou Vagabond and Guitar Case Drifter at one point.  So really, what does Mako add to Kill La Kill?  Well, the obvious answer would be the comedy which Mako provides a constant, pleasant level throughout.  Her delightful presence makes Kill La Kill a comedy anime whenever she’s around, much more than the dramatic, climatic, ecchi masterpiece that it is when she’s in the background.  But is that it?  Is Mako only there for the laughs?  Is she really that empty of a character?

What I find when analyzing her character is that the real value of Mako’s character is that she provides the charm in Kill La Kill.  It’s her endearing, personal nature, her constant friendliness and support that makes Mako an essential aspect of Kill La Kill.  No one else comes close to providing this charm and innocence to what is otherwise an indecent anime.  And to compound this, she’s also essential in how she aids Ryuuko.  Her presence is the only encouragement Ryuuko has in Kill La Kill, something that is indispensable, something only a character like her can provide.  This is where you find the most value in Mako’s character and where she finds her role in the story and to Ryuuko’s character.  To imagine Kill La Kill without Mako would be incomplete.  It would be impossible.  And even in a crude, clowning episode like this, entirely humorous with striped panties, nosebleeds and nonsense, Mako continues to make her key presence felt and continues to make herself a meaningful and fundamental character in Kill La Kill.  That is exactly what we should see in Mako’s character… if only we weren’t laughing so hard at her zany behaviors.

Kyousogiga (TV) (Episode 3)

Though we’ve only seen The Four Divines for a couple of seconds on a digital video screen, I want more of them.  They don’t seem like the most interesting or remarkable characters in this crazy franchise but they look like a quartet of characters that are fun, entertaining and a wonderful addition to any comedic scene.  Hopefully Shouko’s request for help from this is just a simple teaser of what to expect since those four characters look to be a positive addition to an outstanding anime.

Magi: The Kingdom of Magi (S2) (Episode 4)

Why can’t heroes just say “no”?  Why can’t they stick to their original plans and continue on their predetermined journey?  Why do they stop at every town, abandon all their plans and help solve every problem that present itself on their way?  Like, I just want to see someone do that once… just once is all I’m asking for.  Why are they stopping here at this dank, dreary village to save a handful of children when there are bigger fish to fry, like maybe addressing that war going on in Magnostadt or figuring out what Judal is up to?  Then again, introducing logic to a shounen anime like Magi might make too much sense.

Monogatari Series Second Season (Episode 17)

Please, no more recraps.  Please, use these limited opportunities to animate more of the Monogatari series instead of reusing old footage in various capacities to retell stories that we already watched.  And I don’t care if it’s mainly stills and low-quality animation like the original Nadeko arc in Bakemonogatari, I just want more fresh material from the Monogatari franchise.  So please, no more recraps.

Nagi no Asukara (Episode 4)

Although I am enjoying a majority of the cast in Nagi no Asukara, I believe the two racist gradeschoolers are my favorite characters.  Miuna and Sayu were originally two characters who provided a change-of-pace in the first couple episodes, providing instant humor when they’d unsuccessfully bully the underwater folk, especially with their adorable and unintimidating appearances.  However, with the fourth episode shedding some light on the familial situation for Miuna (complex relationship with family-friend Akari) and Sayu’s own struggles (depending on Miuna for support), these two comedic characters have quickly shown considerable depth and purpose beyond berating Hikari and friends.  Having these simple background characters connect to everyone else in the intricate relationship web not only strengthens the series overall, especially in terms of developing this story beyond a simple tale of ‘forbidden love’, but shows how the two distinct societies separated by the sea are inseparable from each other.  Miura’s character illustrates this point alone, not to mention how her character connects with five others, too.  However, beyond these points, the two little girls are still the funniest characters in the anime and that alone is enough for me to like them the best.  Giving them a sincere backstory and providing sufficient context to the story is just a nice, little bonus to go with these two sweet, enjoyable characters.

Samurai Flamenco (Episode 3)

The physical setting of Samurai Flamenco is rather unadorned and lackluster; a modern, urban Japan without superpowers, superheroes or the supernatural.  However, Samurai Flamenco has one of my favorite settings this season due to the elaborate and thorough details documented in every hero show that Hazama recites.  Not only are these details vitally important to the story and the characters but the complexity of these hero shows and how they relate and seem to build off each other provides a uniquely stimulating setting to Samurai Flamenco beyond its physical environment.  Sure, there might not be monsters or youkai or aliens or anything to differentiate it from the overabundance of modern, urban Japanese settings but the thought and detail put into the hero shows in Samurai Flamenco makes up for any deficiencies that may or may not be observed.  It may not be the most interesting or the sexiest setting this season but the attention to detail and the thoughtful use of the setting in Samurai Flamenco makes it one of my favorites.

Yozakura Quartet: Hana no Uta (Episode 3)

So how exactly do these two dimensions work together?  According to the explanation we were given in this episode, the physical environments of the two worlds are the same but the living beings in each cannot interact with each other.  But what does that entail for buildings?  Does one character building a home in one dimension mean the others see floating boards flying around and nails hammering themselves in?  What about weather?  Does the weather in one dimension match the other?  And what about food?  If someone is eating something, does that mean food magically disappears in the other?  I’m really at a loss for how these two intertwined dimensions work with each other when we’re given no context or experience to understand how they work or how these people know these dimensions work like this.  What I would like to see to address this issue is for the characters (or even one) to visit the other dimension to better understand what it’s like and how the two depend on each other.  However, considering that no one has ever crossed from the youkai dimension into the human one doesn’t bode well for what I’d like to see, so maybe we’ll get a walkie-talkie or radio or something later on.

This week: why Flamenco Girl is evil in Samurai Flamenco, appreciating how Kyousogiga is reusing its material by expanding on its recaps, why the storytelling outdid the unique visuals in Monogatari Series Second Season, and questioning the schoolgirl uniform attire in Coppelion.

Best episode of the week: Monogatari Series Second Season

Anime trending up this week: Nagi no Asukara

Anime trending down this week: Galilei Donna

BlazBlue: Alter Memory (Episode 4)

Although this was expected, based solely on the cast of characters prior to the start of the anime, I want there to be more villains in BlazBlue.  Everyone is just so nice and friendly to each other, like how Taokaka wants to play with Ragna instead of fighting him, how Rachel is content watching everyone do whatever and now, most recently, with Noel talking her way out of a fight with Litchi Faye-Ling.  Those are at least 3 fights that could’ve happened in this episode alone.  These guys are all too nice and friendly to each other for a fighting anime.  Thank goodness there’s Hazama to create chaos and disorder, forcing the characters to fight each other instead of talking things over… and this gets back to why I want there to be more villains in BlazBlue: for there to be more fights.  Hopefully Relius Clover appears again soon or Jin Kisaragi finds someone because the series is going to be pretty dull unless some decent fights start up.

Coppelion (Episode 5)

Why the schoolgirl uniforms?  Why not something more… appropriate, for being a medical/rescue team?  Well, maybe appropriate isn’t the word I’m looking for since this is an anime and everyone wears school uniforms in anime… but maybe, something more professional or applicable is what I’m looking for.  Why not wear something more recognizable as a rescue worker?  Why do they need to show off some skin in those miniskirts like they are now?  Certainly those clothes aren’t ideal for running around, carrying people and trying to save the lives of those trapped in Tokyo’s nuclear epicenter.  I mean, seriously, are miniskirts the best thing to wear when running, climbing, fighting and whatnot?  And what’s not to say those blazers or skirts might get caught on some twisted metal or debris or something and get damaged?  Or what happens when it rains and their clothes get wet?  You’d figure that for a team as important as the Coppelion team is that they’d be given clothing suitable to aid in their job.  And yeah, sometimes they do switch clothes but they always revert back to the blazer and miniskirt combo.  I guess the only logical explanation is that this is an anime and schoolgirl uniforms are the only form of fanservice they’ll go for.  Still, this show used this as an opportunity to differentiate itself from the rest and try out military uniforms or something for the same level of fanservice but be more appropriate for the setting and be different than all the other “school uniform anime” out there.

Freezing Vibration (Episode 5)

I can’t tell who is worse, Elizabeth for leaking the documents to the Mably Corporation and then remaining close to her enemies or that Chevalier tortured Elizabeth and then nonchalantly placed her back amongst friends thinking this wouldn’t backfire on them.  Like, did either side really plan ahead for what might happen if things took a turn for the worse?  For example, Elizabeth should have anticipated what the backlash would be if she was discovered to have leaked crucial documents, an act of treason.  She probably should’ve left the E-Pandora facilities and returned to Japan or Britain where she’d be in touch with the Mably Corporation and away from Chevalier.  And for Chevalier, why wouldn’t they send Elizabeth back home after torturing her?  Allowing her to go back among peers, even if she was completely traumatized and couldn’t start a rebellion, is that the others around her are going to be pissed off and want to rebel against this cruel organization.  I suppose the right answer is that they both made terrible, terrible decisions but I figure Chevalier has more to lose than Elizabeth, so I’ll pick them as the worse option provided there is a rebellion and the girls fight back at the defense of Elizabeth.

Galilei Donna (Episode 4)

Galilei Donna… I want to like you, but… can you just please stop being so stupid?  Not only does the treasure hunt storyline really suck featuring a host of problems (it doesn’t make sense to search for hidden documents and obscure clues to find a treasure left by a man 500 years prior… what if this were lost or destroyed or deteriorated over time?) but the content of the show is slipping from adequate to subpar.  For example, the daughter of Herman Hans needed a special surgery for an unusual disease but no one know how to do the surgery.  So in order to address this issue, he began to create a robot to do this procedure to save her life.  But… that would mean he’d know what the surgery was in order to save her life, so why not just hire a surgeon to do it for him?  Him building that robot is what cost his daughter her life.  What a negligent parent, choosing a now-useless robot over a human girl.  And then there’s the issue of Hozuki falling, getting injured and then requiring that exact, specific robot to save her life.  That’s just an example of lazy writing.  Then there was Cicinho chasing after the girls and then fighting them and then stopping… why was that even necessary?  That’s an example of stupid writing.  And then having Herman provide the next clue by handing over the document at the end to allow the story to progress?  That’s an example of even lazier and even stupider writing.  I mean, why can’t this anime be better than it is?  I want to like this anime but it keeps lowering my expectations and I’m becoming less impressed with it after every episode.

Kakumeiki Valvrave (S2) (Episode 16)

How does ‘eating’ runes work?  Does the brain tissue revert back to a smoother state, resulting in a loss of wrinkles?  Do the synapses of memories just disappear?  Like, how do these memories, physical material in the brain, just get transferred over to a robotic machine without any appropriate connections?  I mean, in order to lose these memories in the real world, something has to happen at the site of the synapses, such as alcohol, drugs or toxins that damage and destroy the physical material there.  But in the case of Valvrave, they’re just gone? And then what’s this bullshit about how runes are to information like particles are to matter?  How does that shit work when these memories, called runes in Valvrave, are also physical matter, too?  Kind of a double standard now, Valvrave, by denoting that ‘runes’ are also physical matter and not just information.  I know, I know, I shouldn’t be applying logic or science to Valvrave because… well, it’s Valvrave… but at the very least, couldn’t it be consistent with its wacky universe?

KILL la KILL (Episode 5)

So what is the setting like beyond the walls of Honnouji Academy?  Or more appropriately, what’s the rest of Japan like (or the world like for that matter) in this overly-enthusiastic, dystopian future where the center of society is the local high school?  We already know that there’s a class system in place, based on the performance and grades of the students and that Honnouji Academy owns schools in eastern Kantou, the area where Ryuuko attended several schools before transferring to Honnouji Gakuen, and has completed a conquest of Japan except for Kansai.  It really makes me wonder what it’s like when you go far away from Honnouji Academy, such as to Hokkaido who is supposedly under Honnouji’s rule but far away from the centralized power there.  Are they like mini-Honnoujis?  Are their cities structured the same way, too?  And then what’s so special about Kansai, too?  As with any setting, I would love to see more and am happy to get whatever details I can extract, either through dialogue or other knowledge, but this show is a bit more of a tease than others considering how focused it is on Honnouji as its only physical location.  Hopefully the anime will require Ryuuko or someone else to explore beyond the walls of this insane school, but for now, I’m excited to see what I can learn through little hints like these hidden through each episode.

Kyousogiga (TV) (Episode 4)

While it has been established already that I dislike recaps, I do enjoy what Kyousogiga has done with its reinterpretations of its OVAs from last year.  That is, these last few episodes have featured repeat material from previous episodes but these new episodes expand and develop the material beyond what the OVAs previously achieved.  I actually like this.  I do like that the anime is able to take some of its material and improve upon it in a way that highlights the world and its characters better.  Although I would prefer it to be entirely all new material (a similar or parallel story rather than old/new material mixed together), there is something special about seeing old footage again but with different levels of magnification and focus on the subjects presented.  It would be something similar to an anime going back and answering questions or addressing issues that I or others had with the original material.  It’s kinda neat like that.  Too bad that some of this material is still a recap or repeat from the OVAs, but, when that’s the only knock I have on the series, you can tell I like the anime by quite a bit.

Magi: The Kingdom of Magi (S2) (Episode 5)

Although it’s impossible for me to give proper acknowledgement and merit to sakuga sequences given the format and style of this blog, I do want to take a moment to provide recognition for some of the outstanding and magnificent animation demonstrated through Magi as a series.  As compared to other anime, Magi seems to have a more frequent occurrences of gorgeous sakuga sequences and are typically employed during dramatic fighting scenes, especially with Morgiana and her impressive hand-to-hand (or rather, feet-to-face) fighting style.  So while I’m seeing my interest in the series wane, I do find myself still enjoying the art and animation in Magi thanks to sakuga sequences like those displayed in the fifth episode of this second season.  I can only hope that these sequences continue since they’re one of my favorite aspects of Magi moving forward.

Monogatari Series Second Season (Episode 18)

Lovely artwork but even lovelier storytelling.  While it will be the imagery of this episode that makes the headlines for being a stunning array of vibrant, detailed and spectacular visuals, it was the content of this episode that was the real treat.  Rather, I found the history of Shinobu to be extremely fascinating, opening a window into her character which is arguably the most obscure, underdeveloped (haha, boob joke) and neglected character in the Monogatari Series.  Her character has barely been the focus of any story prior, so having an episode devoted to her history was delightful.  Furthermore, how it tied in with the current storyline provided its significance and timing.  And to make things even better, it was how the story evolved with Shinobu’s character and her first servant that really speaks about her personality and her relationship with Araragi.  The episode was nothing short of special with its gorgeous scrolls overlaying Shinobu’s dialogue, but the real treasure here was the story of this episode.  And though we know the animation and art style will likely revert back to ‘normal’ Shaft, we can hope that the storytelling of Monogatari Series will continue to dazzle like it did in this episode.

Nagi no Asukara (Episode 5)

When has telling someone to “forget it” ever worked?  When has it ever resolved a conflict of any sort or made a situation better?  First off, if you’re going to tell someone to forget something, like Chisaki told Manaka after she overheard her talking about her crush on Hikari, it doesn’t mean that they’ll necessarily be able to forget it.  In the case of Manaka, how will she be able to forget that she heard who her best friend loves?  Even if she tries her hardest, you know she won’t be able to forget based on how stories are written.  And what about from Chisaki’s perspective, how will telling Manaka to forget about it make anything better for her?  Why doesn’t she address the situation with Manaka, talk things over and make a plan for how to mitigate the problem so that Manaka doesn’t make things worse.  Or better yet, since Chisaki doesn’t know how Manaka feels, why not ask for her input on this issue as well?  I mean, now that Manaka knows, you might as well take advantage of your own mistake and work to keep her on your side.  But no, she just wants Manaka to forget about it and for the issue to be dropped, though you know it won’t leave Manaka’s mind anytime soon.  And what does this say about Chisaki’s respect for Manaka?  Telling her to forget about something significant like this is pretty disrespectful to Manaka.  Why can’t she learn who her best friend loves?  Why is this a subject that’s a secret to her?  Well, whatever it is, you figure that once another character tells someone to “forget it”, it’ll blow up in their face before too long.  It’s just a matter of time before someone explodes in Nagi no Asukara.

Samurai Flamenco (Episode 4)

Flamenco Girl might be a superhero to the victims she saves and rescues but the girl behind the mask, Mari Maya, is evil.  She is pure evil.  Not like supervillain evil but a different type of evil that shows her abuse of power and how she’s a hero for all the wrong reasons.   And no, this is not from all the nut stomping she does, though you could probably tally that up to something evil too, but it’s her selfish and demanding personality that demonstrates why she’s evil.  First, she blames Hazama for ruining her debut.  She figures that if she starts fighting crime now on the streets with that somewhat sexy get-up that she’ll be labeled as a copy-cat.  And while any superhero wouldn’t mind, Mari can’t have that.  That’s her being selfish.  So her idea is to team-up with Hazama and for her to take center-stage, saving him and taking the spotlight.  That’s her being demanding.  Those aren’t personality traits you’d find on a hero; they’re what you’d find on someone evil.  And to further illustrate this point, she even claims she doesn’t understand the whole “good versus evil” aspect either… which is exactly what someone would say if they’re evil pretending to be a hero.  However, I don’t think Mari is intentionally evil or intends to be an ‘evil’ hero but that these actions are derivative of her personality as a whole.  You figure that her introduction like this as a flawed character will eventually lead to her having an epiphany where she’s able to turn her character completely around and become a hero of justice, like Samurai Flamenco.  However, I don’t expect the kicks to the balls to go away, even if she does become a proper superhero.

Yozakura Quartet: Hana no Uta (Episode 4)

Underage anime characters drinking alcohol and getting drunk after one or two sips is a stupid, humorless cliché.  Sure, it’s not as bad as the characters drinking juice or soda and then acting drunk, so at least Yozakura Quartet didn’t mess up that badly, but still, having the main cast of teenagers act drunk after ‘mistakenly’ drinking alcohol is a tired anime stereotype that has never been funny.  It’s just a lazy way of having the characters act stupid or silly when the authors can’t be bothered with writing something intelligent.  Why not have them willingly drink sufficient amounts of alcohol to justify getting drunk and then acting crazy?  Or why not have the characters act silly for another reason, like celebrating after a stressful or successful event?  I’m not sure if it’d justify Kotoha licking Ao’s boobs but it could do be a justification for Hime’s overeating.  Or, you could just work around the event and try to produce comedy through some other means.  I mean, virtually anything would be better than this provided Yozakura Quartet didn’t devolve into anime cooking jokes, oblivious male leads, or characters screaming every punchline.  So yeah, I guess Yozakura Quartet is better than 50% of comedy anime, even after something asinine like this.

This week: how the sexiness in KILL la KILL has lost its impact, appreciating the contrast in work between Gotou and Hazama in Samurai Flamenco, discovering a purpose for Aoi in Coppelion, and how character development and story progress made this the best episode of Magi: The Kingdom of Magic in at least 20 episodes.

Best episode of the week: KILL la KILL

Anime trending up this week: Magi: The Kingdom of Magic (S2)

Anime trending down this week: Coppelion

Coppelion (Episode 6)

What purpose does Aoi have in Coppelion?  If you said she has no purpose, you’d be wrong.  If you think she exists purely for comic relief, you’d also be wrong.  And if you said she exists just to be annoying, well… you’d be right, technically, but that’s not what I’m going for here.  Aoi exists to undermine everything about Coppelion.  Think about it for a second and this conflicting detail slowly becomes more apparent.  Coppelion thinks of itself as a serious anime, documenting the lives of genetically engineered schoolgirls as they explore a hazardous wasteland and try to ‘rescue’ the forgotten and neglected, only to find themselves with clashing and challenging personalities that call their very purpose and existence into question.  The setting and story are entirely serious and the anime wants us, as an audience, to take it seriously, too.  But then here comes Aoi, constantly screaming and complaining and being useless.  She isn’t funny.  She hasn’t done anything important.  And honestly, if she were dead, I think Ibara and Taeko would be better off with a bag of nuclear waste than with Aoi around.  The bumbling idiot is intended to be the comic relief of the anime but her presence undermines everything that Coppelion wants to be.  But then, it isn’t entirely fair to blame a poorly designed character in Aoi when the writing is the root of every problem in Coppelion.  Had the writers scripted Aoi’s character better, she wouldn’t feel as wasted or unnecessary or detrimental as she has been.  Had her character served any meaningful purpose in the anime, while also providing amusing comedy, then I don’t think I’d have a problem with Aoi like I do now.  Really, the writing is so abysmal in Coppelion that virtually every problem this series has can be traced back to this origin.  It’s actually somewhat entertaining to see what blunders this anime will make with each new episode.

Galilei Donna (Episode 5)

Question: how did Hozuki program Grande Rosso so well?  Or, more simply, how did she even create such a thing?  The adorable, little virtual friend aboard the flying mecha goldfish, aptly named the Galileo (like everything else in this anime) is perhaps the most astonishing and extraordinary detail the series has showcased thus far.  Yeah, yeah, the treasure hunt is lame and the mecha are pretty tame, so there really isn’t much of anything remarkable in Galilei Donna besides Grande Rosso and the perplexity and infeasibility of Hozuki building everything by herself in a short number of years.  But back to Grande Rosso, how did Hozuki program the AI to have such a charming personality?  And on top of that, it has an amazing analytics system, able to understand what’s best for the crew and even supersede its creator’s wishes.  You typically don’t see AI do that very well, especially when the creator is in tears begging it to save the lives of her friends.  It’s really fascinating to see how Grande Rosso behaves in the series and how the character is able to influence the actors around it.  You almost never see a mascot character have an impact in an anime since they’re usually there to be cute, funny and, more commonly, really damn annoying.  But Grande Rosso is different.  It almost feels like a character given what it’s been able to do.  And seeing how functional it is in battle and how endearing it is to the cast, I wouldn’t be surprised to see Grande Rosso’s role expand great than it already has.  Now, wouldn’t that be something?  Not only is Hozuki the main character, a super-genius and prodigy of Galileo but she also created a character better than the writers of the series have done with her two sisters.  Pretty soon, we’ll have to call this anime Hozuki Donna, seeing as she’s already rivaling Galileo for everything he’s done.

KILL la KILL (Episode 6)

I think, by now, Ryuuko’s exhibitionism has lost its luster.  Don’t get me wrong… sure, the protagonist of Kill La Kill is still arguably the sexiest character of the entire year, but seeing her in her Godrobe, Senketsu, doesn’t really seem all that outrageous or scanty anymore.  It’s what you expect from Kill La Kill now; that outrageousness is now the norm.  In fact, you kinda expect Ryuuko to be somewhat naked or sexualized for a majority of episodes as a result of this phenomenon.  And even when her serafuku is being washed and dried, we still got a few shots of her striped panties every now and again to remain at this high level of sexiness.  But after so much, the frequency and intensity of it all, it doesn’t seem all that extreme now.  Whether that matters at all or not remains to be seen.  Instead, the fighting has picked up considerably with the sixth episode displaying some of the best fighting seen all year, both in terms of story, drama and action.  The comedy in Kill La Kill has excelled, too, especially with the cutesy, change-of-pace episode where the two girls tried to make it to school on time.  To me, the initial appeal of the sexiness has faded in Kill La Kill and become a rather standard aspect of the series.  With that shocking feature now subdued, what remains are some rather entertaining fights and amusing comedy.  And underneath that is a budding story and promising characters who are beginning to develop and mature.  Of course, the sex appeal wasn’t the main reason why I picked up this anime, but it certainly was an exciting factor to consider.  Now with the fascination fading with every episode, I am glad to see that there’s some substance to this series to go along with the fighting and comedy that has performed so well.

Kyousogiga (TV) (Episode 5)

Kyousogiga is a cartoony anime… and that’s a good thing.  The charming nature of Kyousogiga is derived partially from its characters, its setting, its story and its style.  It’s artwork and aesthetics are simplified and colorful.  The animation and action are exaggerated and striking.  And that is even foregoing all the special moments where the art and animation combine to make a significant impact on the character or the scene.  The visual appeal of Kyousogiga is virtually unrivaled in both its delight and its passion.  The scenes are fun to watch.  The scenes are also meaningful to watch.  And although Kyousogiga seems a bit silly or simple, it works to the overall appeal of the show.  The anime wouldn’t have the same type of enchantment if it looked like every other anime.  The fact that is has these cartoony aspects helps differentiate Kyousogiga in a positive manner.  And that fact that Kyousogiga is a bit cartoony, helps make Kyousogiga Kyousogiga.

Magi: The Kingdom of Magi (S2) (Episode 6)

Well, wasn’t that something?  In what is arguably the best episode of Magi since before the Balbadd arc, we saw the resolution of an unenticing side story, the most significant development of Hakuryuu’s character and a conflict erupt between the main characters that did what I wanted all along, split the party into various groups.  Finally, the story and characters of Magi have done something significant and interesting.  Furthermore, it was fun to watch, too, seeing Hakuryuu take command of the situation without backing down or crying like a crybaby.  And to top it all off, we finally saw Hakuryuu open his heart in what was sure to be a pleasant addition to his complex character.

Really, why can’t more episodes of Magi be like this?  What’s so hard about actual progress?  By exploring Hakuryuu’s character, we effective hit a mini-climax in the story with all the characters splitting up and going their separate ways with ambivalent and conflicting emotions.  I love it.  I just hope Magi loves it, too and can continue on this upward trajectory.

Monogatari Series Second Season (Episode 19)

I’ve never really viewed the Monogatari franchise as a comedy, but I do find myself smiling and laughing at its humor more than many other anime in the comedy genre.  And with the last episode of Monogatari Series, I have to wonder if enough of these amusing bits in these story arcs are enough to qualify this anime as a ‘comedy’.  Considering how multivariate the series is, I really shouldn’t be surprised to see the series listed as a comedy. But along with 5 or 6 other labels, the series is hardly a true comedy like some of the other anime I’m reference earlier as comparisons to Monogatari.  Perhaps it’s my natural weakness to NisiOisiN’s writing or maybe it’s because I’m in comedy withdrawal since the end of Watamote and Love Lab.  Or maybe because this story arc is devoted more to story and writing than action and mystery like virtually all the others.  Whatever the reason or reasons, I find myself enjoying the humor of Monogatari more than ever before.  I can only hope this continues since there seems to be an emptiness where there usually is a strong comedy anime for me.  And while I don’t expect Monogatari Series to fill that void completely, I do appreciate its humor of late as an addition to an already captivating and delightful anime.

Samurai Flamenco (Episode 5)

The stark contrast between Gotou’s justice and Hazama’s justice is the most intriguing and engrossing attribute of Samurai Flamenco.  The purpose of his character, besides playing the voice of reason to Hazama’s antics, is to provide an honest disparity to Hazama’s heroics.  Whereas Hazama kicks bad guy ass, gets congratulated in the streets and is celebrated in the media, Gotou is an active duty police officer who performs boring or mundane tasks, like retrieving lost wallets, helping ordinary citizens and promoting the police in response to the weirdos dressing up in spandex and attacking people who really haven’t committed any crimes.  And of course, because Gotou is so ordinary, he isn’t kicking ass, being congratulated or celebrated for his work.  The whole examination of Gotou’s character and his work is a delight in this anime because it provides that foundation or benchmark for which to really measure and define Hazama’s character and his action.  It would be even better if we were able to spend some more time with Gotou and to see how he, as a police officer, would act in the situations that Hazama and Mari find themselves in.  For example, you could have Gotou arrive on a scene where Hazama is being beaten up and where Gotou, as a police officer, acts as the ‘hero’.  Still, what Samurai Flamenco has done thus far has been adequate for us to draw comparisons for Hazama’s extraordinary personality.  Furthermore, it will be interesting to see how these characters change over time and how each other influences their views and actions on justice.

This week: further analysis on Mako’s character, helping proving her true value in KILL la KILL, an exceptional, cunning and innovative moment in BlazBlue: Alter Memory, questioning why all scientists are crazy in anime based from Kakumeiki Valvrave (S2), and complaints of Shounen Fight Syndrome in Yozakura Quartet: Hana no Uta.

Best episode of the week: KILL la KILL

Anime trending up this week: Gingitsune

Anime trending down this week: Yozakura Quartet: Hana no Uta

Yozakura Quartet: Hana no Uta (Episode 6)

I haven’t complained about Shounen Fight Syndrome for quite a while, but that’s largely because it hasn’t bothered me lately.  The end to episode 6 of Yozakura Quartet: Hana no Uta, on the other hand, made me feel both frustrated and nauseated.  I will give it credit that it did connect the Dragon Lance, Sakanade, to Hime’s youkai background, but the whole set-up and the deus-ex-machina nature of the whole fight was pretty weak.  In fact, I might even go as far to say it ruined the episode, taking all the strategy and struggles and emotion in the fighting and turned it into an easy out without any satisfying climax or resolution.  That’s really where I find my beef with Shounen Fight Syndrome and the end to this episode of Yozakura Quartet is a fine example of why I hate this cliché in anime.

Samurai Flamenco (Episode 6)

Samurai Flamenco should be more serious.  As it stands right now, the series is 20%, maybe 25% serious and the rest is just silly and superhero-ish stuff.  And while I’m fine with that for most anime, it’s the serious aspects of Samurai Flamenco that I find I’m enjoying the most.  I find myself more enthusiastic and passionate when we’re learning Hazama’s backstory, observing the challenges and struggles in his heroic activities and how Gotou’s police work provides a real world contrast to Hazama’s superhero antics.  Not only that but the chemistry between Gotou and Hazama is ideal and balanced for the serious anime trapped inside Samurai Flamenco.  But for the most part, we’re given pretty girl idols dressing up as magical girls and stomping nuts, a battery of weapons that are all shaped like office supplies (with perfect timing and functionality, too) and a cast of silly characters who bounce in and out of the series when it has gone too long between jokes.  Why not take these moments and refine them?  Why not make this anime 60% serious or more?  Samurai Flamenco doesn’t need to be as silly or lighthearted as it is, but I don’t mind it sprinkled throughout, especially during the downtime.  Hopefully the anime can make a positive turn soon, especially with the midway point quickly approaching.  Thankfully, anime like this usually turn to focus on the serious aspects when they’re at the midpoint and at the end, so there’s hope that my desire will come true.

Monogatari Series Second Season (Episode 20)

Izuko Gaen is easily one of the most remarkable characters in the Monogatari Series franchise.  Not only is she a god of some sorts, she’s essentially a female NisiOisiN, a character who’s all-knowing, much like the author is.  In fact, her catchphrase is, “There is nothing I don’t know; I know everything.”  Pretty awesome, right?  But does she know why kids love Cinnamon Toast Crunch?  Hmmm?  I guess we may find ourselves in a paradox here or something if someone were to ever ask her.

Magi: The Kingdom of Magi (S2) (Episode 7)

I can’t be the only one who doesn’t like Aladdin’s fanatical and obsessive sexualization of boobies.  Although it’s been present throughout the series as a recurring ‘joke’, I feel the need to bring it up now after it’s happened for the nth time.  It’s not to say that the joke isn’t funny now (it was never been funny to begin with) but that it just seems so contrary to his personality and demeanor to others.  You always see Aladdin as a kindly, smiling and compassionate child, putting others before himself and using his skills as a Magi to better the lives of everyone around him.  But whenever there are adequately sized boobs around or anything larger, watch out because he becomes a completely different and considerably lesser character in the process.  In fact, look how quickly he and Alibaba turn on Morgiana because there were some cheap hookers in town.  Seriously, you’re going to be parting ways with her for who knows how long and those two losers decided to spend it with some floozies in a club and alienating their best friend?  Seriously, who does that?  Aladdin and Alibaba are dicks.

KILL la KILL (Episode 7)

I’ve always found Mako’s character to be one of the most remarkable aspects of Kill La Kill.  In an earlier post, I weighed her significance in the series beyond her obvious comic appeal to examine just how much of an influence she has on Ryuuko and on the anime as a whole.  And with this episode, her brilliance was demonstrated again, though maybe not in the way you think.  While the episode will be renowned for Mako’s Two-Star Ulitima (delinquent’s) Uniform, the subsequent fight, and the whole “511013” speculation, I find Mako’s actions throughout to be the most notable.  What this episode confirmed is that Mako was willing to work for Ryuuko as much, if not more, than what Ryuuko is doing for Mako.  All throughout the episode, save for a few choice moments, Mako worked diligently and tentatively for Ryuuko, laboring meticulously to improve the lives of her family and her best friend.  And although some corruption and selfishness swayed her momentarily, I think we’ve really discovered the true value of Mako’s character; not only is she the sweet, charming gal that makes us laugh and the girl that supports the loner, Ryuuko, but Mako is willing to do whatever she can to make Ryuuko a success.  We witnessed how hard she works and how serious she is when it’s her responsibility and this reinforces the idea.  It really builds off my previous analysis of Mako, not that she’s the only one on Ryuuko’s side but that she’s willing to do whatever to help out her best friend.  And considering the disadvantages of her character, I find the size of Mako’s heart to be more significant than really anything Ryuuko’s done.  Although it’s Ryuuko that will catch the headlines for her sex appeal, victories and triumphs, the only character who has really blossomed in Kill La Kill has been Mako.  And even though Ryuuko will continue to be my favorite in this delightful series, Mako is the character I respect and appreciate the most.

Kakumeiki Valvrave (S2) (Episode 18)

Why are scientists always insane (or killed) in anime?  Like, besides evil CEOs seeking world domination/destruction and yanderes, scientists are always the craziest characters in anime.  And we’re not even talking mad scientists here; we’re talking those grunts in lab coats that wear glasses and sit at computers.  But why are these people depicted as crazy?  Scientists in the real world are fairly normal (read: boring) people.  They just happen to study and explore the world around us, either building giant robots or playing God with the human genome or alien science.  And when scientists discover something new or revolutionary, they usually aren’t content with that as a final answer and will work on improving it or exploring it further.  Sure, these people are passionate and borderline obsessive, but I don’t get why scientists are always portrayed as some crazy mastermind who did something ridiculous and then became insane as a result.

Seriously now, why couldn’t Haruto’s father be a real character like a majority of the cast in Valvrave?  Why did they make him such a meaningless character?  Why couldn’t he have engaged Haruto and stood his ground against the Valvraves and the genetic manipulation of the students of Module 77.  Not only would it have strengthened the opposition and provided support for why JIOR’s military but it would’ve humanized Haruto’s father.  But no, it was probably easier to write him off as a mad scientist and then humanize him at his demise, where he’s crushed under some rubble and Haruto speaks to him then he realizes he loves his father and then there are tears and blood and Haruto must leave him and there’s an explosion and Haruto screams and cries… yeah, you know that’s gonna happen.  Sorry for the spoilers.

Gingitsune (Episode 7)

Is everyone religious in Gingitsune?  Yes, it sure seems that way.  But does everyone need to be religious in Gingitsune?  No, of course not.  Although it makes sense for the core of the anime to be about these religious characters (Makoto and Satoru) and their divine deities (Gintarou and Haru), I wish the anime would branch off, broaden out and include characters from various other backgrounds.  I was happy with Yumi’s and Hiwako’s presence initially but this interest has waned considerably with their characters only seeming to appear at shrines and temples.  I don’t mind that they dressed up as shrine maidens or that Yumi is the cousin of Shouhei, the son of a large temple, but I wish their characters were strong enough to pull the series away from just a religious setting and show how the heralds and religion impacts the characters and society.  To put it simply, I want to see the series explore the world and its characters outside these holy grounds.  Since the series has been in a shrine or on temple grounds in every episode, I think Gingitsune could really sell me on its purpose if it were able to demonstrate the herald’s impact on society by actually seeking people who have problems besides little, lost kitty cats.  Let’s hope something like this happens soon.

Coppelion (Episode 7)

So a Coppelion’s blood type changes based on their year in school?  I just… no… I mean… why… I mean, what’s the point of this bullshit explanation doing in the middle of an anime?  Couldn’t the solution have been simply, ‘Ibara needs Haruto’s blood since they’re both the only O type here’ or something?  Why did they need to do something as unscientifically and illogical as explain the need for the blood transfusion with changing blood types by year.  First, who would design such an awkward system?  What purpose does it serve?  If there was a single ‘best’ protein, why not have them all have it all the time?  Second, how do these different expressive proteins know when to switch?  Changing the blood type like that could cause a serious immune reaction that would kill the person since it would see the blood cells as foreign objects.  And if the body had already recognized a previous blood type, why couldn’t Ibara be infused by anyone in a grade lower than her?  I mean, her body should already know those proteins, so there should be zero problem donating blood to her from a type her body is compatible with.  To me, the source of this bullshit is just all awful writing in Coppelion, where the authors wanted there to be a special blood transfusion between the two but were too lethargic to put any effort into their research and made up some bullshit answer to their solution and stuck with it.  Then again, what hasn’t been bullshit in Coppelion besides the aesthetics and backgrounds?

BlazBlue: Alter Memory (Episode 6)

There have been a few flashes of brilliance and moments of glory thus far in BlazBlue: Alter Memory, but I have to admit, the whole ‘oh, someone died, let’s redo that bit again’ segment is my favorite.  I couldn’t help but find myself amused during that entire stretch.  Just seeing the series go off on a conspicuous tangent like that, then have the observers realize something was wrong and have everyone do the scene over again (complete with rewinding VCR visual effects) was just amazing.  Not only was it unexpected but the whole reversal of fate was fun to watch.  But was there something more meaningful behind this whole sequence?  Something more… astute and creative than just a funny scene watching Jin die?

It really makes me wonder if what we saw is what happens in all these fighting games… is this what happens after round 1/round 2 of a fight, when the character recovers from zero health instantly and is back to full life?  I think we may be on to something more than silly storytelling here if this whole fight/death/reset was intended to happen as we saw.  If so, then yeah, this is easily the greatest moment of glory in all the BlazBlue anime. In fact, I’d be willing to bet that’s what the studio had in mind with this whole segment.  Then again, I’m not actually in their minds, so I don’t know for sure, but I’d like to think that this is what they meant and give the series its credit for its originality and insightfulness.  And no, I never thought I’d be saying that about the BlazBlue anime, but here we are.

This week: Kaiki’s internal conflict and searching for his truth in Monogatari Series Second Season, severely disappointed with Samurai Flamenco, why the family drama is much better than the romance in Nagi no Asukara, and the underappreciated, yet fascinating mecha in Galilei Donna.

Best episode of the week: Monogatari Series: Second Season

Anime trending up this week: Kyousogiga (TV)

Anime trending down this week: Samurai Flamenco

Yozakura Quartet: Hana no Uta (Episode 7)

Yozakura Quartet has had its ups and downs this season, thanks in part to some fascinating episodes early and some tedious ones of late.  However, there has been one aspect that has remained consistent throughout, and it continues to be one of the genuine strengths of the series.  The comedy in Yozakura Quartet doesn’t always take center-stage or the spotlight in every scene but its ubiquitous presence in the series always makes room for smiles or laughs, even when the series is straight-faced or serious.  The fact that the comedy isn’t subjected to ups and downs means that the humor and entertainment in this anime is anchored at an adequate level; it’s something we can expect going in to every episode… and that’s something extremely valuable for a series that has inconsistencies, or spikes and valleys, like Yozakura Quartet.

Samurai Flamenco (Episode 7)

Of course, we all expect Guillotine Gorilla to be a part of some stunt or trick or twist or scheme, likely orchestrated by the main antagonist of the series, Akira Konno, and the chief of police.  The event was obviously planned and coordinated by the entire staff of police and, without Gotou’s or Hazama’s knowledge, it lead to our masked hero to be cornered by the spatial projection of the source of all evil.  I mean, the transformation, the gorilla, the damage and deaths, and the evil specter of evil, King Torture, are all likely some flashy effects and scientific wizardry concocted by the only person still obsessed with Samurai Flamenco.  Think about it… who, other than another superhero fanboy, would know exactly what to do to antagonize a masked hero fanboy like Samurai Flamenco?  Right?  It’s got to be him.  Who else would know to do all this, to this level of detail, and to pull off this stunt without Hazama or Gotou catching wind?  What just occurred what almost too perfect.  But then that means… it wasn’t perfect.  In fact, it’s pretty far from perfect to me.

To me, I felt like the series took a completely wrong turn with this move.  Why did the series try to play this event out as a serious event?  Why did this anime try to portray everything that happened, as incredibly stupid and asinine as it was, as something that actually occurred?  I don’t get it.  Is the series trying to take a nosedive?  Is it trying to shed its realism and go all bananas?  And if, for whatever miniscule chance this is all real, then what the hell is this series trying to accomplish?  Consider myself unamused by what just occurred in Samurai Flamenco, for taking the series in the complete opposite direction of where I wanted the series to go.  Nevertheless, consider myself also deeply intrigued because I’m absorbed in what just happened and excited to see what will happen next.  I may not be happy with what’s going on in Samurai Flamenco but I’m certainly engrossed enough to learn about everything that just happened.

Nagi no Asukara (Episode 8)

The dynamics of the family drama in Nagi no Asukara, that is Akari’s decision to leave her family in Shioshishio and reside with Itaru and Miuna on the surface, is easily the more interesting aspect of the series than the love pentagon developing between the five school-age kids.  Romantic relationships in schools between budding adolescents is a tired, tired genre for me, and what Nagi no Asukara is offering with its stereotypical anime cast is nothing to get me excited or interested.  And while the drama related to the families isn’t anything spectacular, I find myself captivated by the events that have transpired and the drives the characters have.  To me, the most significant growth and development in this series has occurred between Akari and Miuna, especially Miuna.  Watch these two characters come together has easily been my favorite aspect of Nagi no Asukara and I’m pleased to see this story continue through the middle of the series and remain a feature throughout.  I realize that the romance will eventually take over toward the latter half of the series considering the anime spends a disproportionate time on that subject, so I can’t help but wonder if my interest in this anime will wane when such a transition occurs.  I suppose now I should just enjoy what the series is providing me in terms of the familiar and societal drama and then try to enjoy the romance when the series decides it’s time to sink.

Monogatari Series Second Season (Episode 21)

Kaiki is probably the greatest character in the Monogatari franchise.  Not only is his cruel personality and strict demeanor ideal for a villain, fitting the theme of Monogatari like a curse to a middle school girl, but his dry humor, harsh temperament and brimming self-confidence make his clashing nature a delight to witness.  Whether it is with Senjougahara, Araragi or even himself (the scene with the bathroom mirrors), Kaiki’s dialogue is simultaneously both turbulent and perceptive, showcasing his contempt for others while adhering to his own personal philosophy and system of logic.  He is a remarkable character who rationalizes his selfishness and malevolence in a steadfast way that is impossible for anyone to convince him otherwise.

So to see Kaiki there, sitting alone before the bathroom mirrors, searching for a reason to accept Senjougahara’s job is quite jarring and conflicting to what we’ve already established Kaiki’s character to be.  It wasn’t so much that Kaiki was trying to convince himself to take the job, since we already know that to be impossible.  Rather, he had already convinced himself to take it when listening to Senjougahara’s story.  Instead, what we saw was Kaiki attempting to rationalize his decision with himself.  Now that’s something I find fascinating.  What I saw with Kaiki’s monologue is a character that chose to do something that is against his existence; he accepted Senjougahara’s job despite it conflicting with everything he stands for.  As a result, he forced himself into seclusion and searched for every possible motivation for him to take the job, dismissing everything obvious and, in doing so, found the most arbitrary and distinct detail and used it to fit his rationale.  It isn’t that Kaiki is doing this for Kanbaru.  Rather, Kaiki is doing this for himself with Kanbaru as the only explanation to fit his character.  But why is Kaiki doing this for himself when it goes against him unwavering personality?  That is something I’d love to find out and I pray we find out with this story arc.  I’d love for Monogatari Series Second Season to explore his character in depth and rationalize his character, especially since we’ve already seen one contradiction in his character already.  If there is any time to do such a detailed examination and analysis of Kaiki, the time is now in Hitagi End.

Magi: The Kingdom of Magi (S2) (Episode 8)

I’m glad Aladdin’s adventures in Magnostadt (which I’ve always wanted to call Mangostand and will henceforth do so) were only episode long.  Why?  It’s not that I didn’t find myself enjoying the episode or that I found its placement in the series to be incorrect or insignificant, but that one episode was the right amount of time used to tell such a story.  Anything less would not have been enough and anything more would have been too much.  The story was complete, able to do everything it wanted to in the time allotted.  And the episode wasn’t boring or tedious either; rather, it was actually pretty amusing with a constant emphasis on comedy and humor (and fanservice) throughout.  And I actually liked the city of Mangostand, though the setting was notably underdeveloped in just this one episode.  Still, I’m content with what we saw and what was achieved in this one episode, and I hope the pattern continues for Alibaba and Morgiana next.

Little Busters! Refrain (Episode 8)

Seeing Riki lead Rin around has been a common staple for Little Busters! since the beginning of the anime.  You’d often see Riki lend a hand, figuratively of course, to help Rin venture outside of her comfort zone and help her disperse her shyness.  But now, with the series in an alternative timeline or dimension or whatever, things have been reset, and all of Riki’s progress with Rin has been seemingly lost.  So, what do you expect Riki to do now that Rin has reverted back to her introverted state?  He’s lending a hand again… but this time, literally.  To see Riki lead Rin around by holding her hand is something completely new in this timeline.  And while I’m probably the least invested in romance in the history of anime fandom, I think it’s really, really, really, adorable.  In fact, seeing the couple go between places with Riki holding Rin’s hand has easily become my favorite aspect of this anime now that several of my favorite characters are AWOL.  I can only hope this minor detail continues to the end of the series, though I have my reservations on how far it will continue as the Little Busters circle grows in subsequent episodes.

Kyousogiga (TV) (Episode 6)

The Alice in Wonderland motifs in Kyousogiga have always made me smile.  The tributes, the details, the minutiae… all these little tidbits and elements have helped infuse a sense of meaning and miracle into the innovative and imaginative narrative that is Kyousogiga.  But now, with the story embarking on a different path, or at least one that doesn’t seem to rely too heavily on Lewis Carroll’s novel, I find myself smiling even more.  Why?  Because what Kyousogiga is doing now is establishing its own story, now with its own originality and creativity.  To see the series expand in such a fashion and to find its own direction, after using so many parallels from Alice in Wonderland, is something I can’t help but appreciate.  It really makes me happy when an anime is able to assert its independence like this after incorporating various characteristics and features from other stories.  And with Kyousogiga now instituting its own chronicles, I can’t help but excited to see where this new, original journey takes us.

KILL la KILL (Episode 8)

Something that Ira Gamagoori said in this episode shook me a bit.  Although we consider Satsuki and the Four Divas to be evil antagonists, oppressing the students under totalitarian rule, he did state that he’s there to help the students of Honnouji Academy, even when his sworn enemies, Ryuuko and Mako, were stuck on the side of the road with a broken-down scooter.  And that got me to thinking… what is the perspective of KILL la KILL like from everyone other than Ryuuko?  Although the established opinion in this anime is that Satsuki and the Four Divas are evil, I wonder how much good they provide to the other students or to the school in general.  Then again, while characters like Nonon and Houka interact coldly with their fellow students, Ira and Uzu are seen among their peers and often are helping them in one way or the other.  It’s kinda funny to see these dual personas with these villainous characters, but it’s something I appreciate in an anime of this style.  I always appreciate it when villains are shown to have good or virtuous sides instead of being insane characters who are obsessed with destruction, world domination or something that lacks depth or is not relatable.  So to hear Ira say those words to Ryuuko and to follow through with his actions really helps me realize how much I enjoy these characters in KILL la KILL.  I can only hope they continue to play a significant role after Ryuuko beats them to a pulp in the Naturals Election.

Gingitsune (Episode 8)

Since Gingitsune is a highly religious anime, I appreciate it taking the time to move away from the heavenly heralds and show us the story of a man going through hell.  Or, that is to say, I thought watching Yoshizumi escorting three high school girls through the mall for hours was the very demarcation of hell, or at the very least, one of them.  Not only must the whole experience been tedious and frustrating and maddening, but to have him have a crush on one of the girls must’ve made the whole experience even worse.  Ugh, watching her walk around, looking at clothes and being indecisive about ties must’ve been the worst day of his life… especially since it was on his day off, too.  I feel for Yoshizumi as a character; that must’ve been rough.  I can only hope he gets fired or ends his misery by resigning shortly hereafter.

Galilei Donna (Episode 7)

The mecha in Galilei Donna are both underutilized and underappreciated.  With the anime revolving around some soon-to-be disappointing treasure and the related hunt with arbitrary clues and artifacts and guides, I can’t help but realize that virtually every episode has had a mecha play a significant role in some way.  Whether it’s Hozuki’s flying airship, Galileo, Hozuki’s robotic suit that helped liberate her sisters from prison, the vast array of enemy fighters, or even Hozuki’s bike/bazooka from the opening scene… the diversity and application of mecha in this anime is outstanding.  But why are these fantastic aspects so unacknowledged?  While I do attribute a large part of this to the setting, a future where these remarkable and mesmerizing machines are nothing more than everyday gadgets to the characters, I don’t understand why the characters don’t pay more attention to these things.  Then again, there have been several times where the characters comment on the usefulness of the mecha or their curiosities of Grande Rosso or whatever, so maybe I’m just late to the party in realizing how amazing the mecha are in Galilei Donna.

Freezing Vibration (Episode 8)

One of the main reasons why I heavily criticize fanservice in most anime is because it always feels forced or contrived.  The way it’s portrayed or the way it’s depicted just never feels right.  In Freezing, sometimes the fanservice feels like this (probably whenever Kazuya is around), but most of the time I like it or appreciate it.  To me, the fanservice in Freezing feels natural.  You don’t have too many awkward zooms or characters blushing or girls flashing their panties when they don’t want them too… nor do you have the guys with bloody noses, the creepy otaku stereotypes who obsess over these girls and that dreadful comedy where the girls punch the guys in comedic fashion (I swear, those punches do more damage to me than to any guy they hit).  But no, in Freezing, you have girls unashamed of these details and who walk around naked or in various states of undress throughout.  Here, the fanservice feels normal or natural, and this lack of attention or focus is why I find Freezing to be one of the better ecchi anime out there.

Coppelion (Episode 8)

Who authorized the Coppelion project?  Or more specifically, who decided it was a good idea to give superhuman strength or electrical powers to the clones of a serial killer?  Couldn’t someone have spent a minute or two researching their candidates and realize that some all of the things they were doing was a bad idea?  Then again, couldn’t the people making this anime have done the same thing?  Seriously, GoHands could’ve been making a sequel to K or something instead of this garbage.

This week: explaining why what we’re watching now is Samurai Flamenco “B”, the contrast in perspectives between Kaiki and Araragi in Monogatari Series Second Season, analyzing the various time periods and settings shown in Magi: The Kingdom of Magic, and recognizing why Little Busters! Refrain is performing much better than its first season.

Best episode of the week: Monogatari Series Second Season

Anime trending up this week: Gingitsune

Anime trending down this week: Galilei Donna

Yozakura Quartet: Hana no Uta (Episode 8)

The antagonists of Yozakura Quartet play a very meaningful role in the story of this anime.  However, one could argue that the main story of this anime, the one regarding the merging of the human dimension with the youkai one, could probably continue unabated if the villains of this series were simply omitted.  But if that were the case, the anime would be completely different and a much lesser anime than it currently is.  Why?  Well, without the villains of this anime, the series would be largely without conflict.  Without a challenge or conflict popping up every so often, the heroes of this story would continue to lollygag around, relaxing and enjoying the tranquil days of their youth by eating ramen, going to festivals, playing video games and patrolling the city while singing mindless songs.  To put it bluntly, the anime would be nothing without the villains.  It would be meaningless.  It would be pointless.  And even with the peril and uncertainty of the merging dimensions, there would be no urgency by the cast and the whole issue would likely be solved without much duress.  It’s the villains who are putting things in motion.  It’s their actions which provide a purpose and meaning to this anime.  Without them, the story and anime could survive, but it would be so incredibly weak and tepid that it wouldn’t even be worth watching.

Samurai Flamenco “B” (Episode 8 2)

Yup.  We’re not watching Samurai Flamenco anymore… we’re on the second episode of a new series, Samurai Flamenco “B”.  Or something.  Or whatever.  I’m not really good with clever names for things, so I’m giving it something as effortless as “B”.  But to be honest, it’s really quite appropriate since it has that “B” feel to it now with this cartoony action, these asinine villains and ridiculous plot that came out of nowhere and makes no sense.  Literally, these episodes are the “B” of Samurai Flamenco, and I’m refusing to treat the first half (the superior half) as the same anime as what we’re watching now.  I’m not bitter or anything (maybe not bitter, but frustrated is a good word), but there’s no other explanation for this.  It was smart and now it’s just stupid.  It had style and now it’s just stupid.  It had a theme, a resolve and a drive but now it has nothing.  The disparity is so stark between the two halves that you’d have an easier time comparing two different anime together than the first part and second part of this anime.  There was literally a schism in the series and, unfortunately for us, we’re in the “B” side of things now.  And to be frank, the “B” side sucks.  It’s like the series has started over for me with the “A” side being complete and earning high marks.  As for the “B” side… let’s just see how low this side will go.

Monogatari Series Second Season (Episode 22)

The contrast between Kaiki and Nadeko couldn’t be more blatant.  You have a wonderful villain, a grim, gray gentleman who is calm and calculated and doesn’t care much for anything and a naïve, jovial and irrational god-girl who is excited to meet her first believer.  And while I could continue on this simple observation that I enjoyed so much in this episode, I’d rather take a step back and look at the huge contrast between Kaiki and Araragi as protagonists.  Rather, the perspective of Monogatari is vastly different between the two.  Whereas before, with Araragi as the male lead, he plays into the personality of the girls he talks to and plays off their behaviors for jokes and trying to sound cool.  With Kaiki, he dominates the conversation with his suave and confidence.  Here, the difference is seen in how the other characters affect the protagonist which leads to different levels of friendliness, humor, and of course, sexualization.  And the sexualization of the series couldn’t be more different between the two.  When Nadeko was talking about wearing nothing but a pair of buruma (gym bloomers) and her sukumizu (school swimsuit) around Araragi, Kaiki silently commented to himself how awkward he felt… which much be incredibly awkward for Kaiki to feel awkward.  Had this been Araragi instead, you can guarantee he would’ve obsessed over it like the lolicon he is.  And it’s not just the dissimilarity in these styles either but also in how the two characters value these conversations.  Kaiki was there to obtain information and make an assessment of Nadeko and this is probably similar to how he sized up Senjougahara and Karen and all the middle school girls before him.  Araragi actually enjoys the company of the girls he’s with and is willing to listen to them, another reason why he is as popular as he is with the female cast of this series.  The differences between the two could continue further, but these are the main details on how I view these two as different.  Rather, it’s a pleasant change of pace to have Kaiki and Tsubasa take over as the leads in the Monogatari Series, allowing us to witness the series through the eyes of two brilliant characters.  These changes in perspective have gone a long way into making this sequel my favorite one in the franchise.

Magi: The Kingdom of Magi (S2) (Episode 9)

With Alibaba’s trip to the Roman Reim Empire, another vibrant detail of the setting of Magi is revealed to us.  However, with each new distinctive location comes another headache when trying to pinpoint what era of our world’s history that Magi parallels.  Although we don’t explicitly know what time period the characters are in, based on the cultural and societal details of these settings, we see Magi range from 80-200 AD (the time the Coliseum was completed till about the time Gladiator fights decline) to the Islamic Golden Age (~700 AD, when One Thousand and One Nights took place, or really where most of Magi derives its lore from) to even the most recent event with the seafaring pirates and cannons in that reflect the pirates of the 1700-1800s.  That is to say, the time period that Magi is in spans nearly 1700 years of our own history, and this is negating the indeterminate period that China Kou is in which could possibly predate Rome Reim by several hundred years.  Then again, you figure is going for a ‘Greatest Hits’ of world history with its fantasy setting, so trying to determine a specific, real time period is likely impossible.  Then again, I didn’t say it was fun trying to figure it out either.

Little Busters! Refrain (Episode 9)

Why has the second season of Little Busters! been so much better than the first?  While I do miss a majority of the female cast in Little Busters!, I can’t help but notice that the anime is noticeably better now that it’s focusing on Riki and the core of the Little Busters! group.  Although I’m a little upset that it had to come to a series reset to get to this stage, I’m gleeful that Little Busters! Refrain is now focused on its characters and making progress with each and every episode.  Nothing feels drawn out or overdramatic or emotional.  Everything feels… well, right for a change.  The significance and weight that they’re adding to the characters has gone a long way and I think this is partially due to cutting off some of the fat in the series which were the overabundance of girls competing for screentime and causing the anime as a whole to suffer.  You don’t often see an anime make a huge leap in quality and performance over the original (in fact, it’s usually the other way around for me) but Little Busters! Refrain has done just that.  After being disappointed and frustrated with the original, I’m happy to say that the sequel of Little Busters! is one of my favorite anime of this season.

KILL la KILL (Episode 9)

When thinking of an ecchi/fighting anime, clothes destruction quickly comes to mind.  After all, it’s an easy way to demonstrate both fighting and fanservice, to have the girls’ skimpy outfits become even more revealing once they begin to take damage combinded with the fact that they’re ‘showing’ the girls take damage (without resorting to blood or other violence).  But for KILL la KILL, there is only a minimal amount of clothing damage.  And when it’s infrequently performed in the series, it’s done all at once when a fighter loses a fight.  Furthermore, the clothing destruction isn’t only limited to those in sexy schoolgirl uniforms either; there’s been more clothing destruction for the guys than girls in KILL la KILL.  So is it odd that KILL la KILL is an ecchi/fighting anime unlike so many others?

Well, instead of having mindless, senseless clothing destruction like so many other ecchi/fighting anime, KILL la KILL’s system makes sense on various levels.  For one, the Kamui (Godrobes/God Clothes) are made entirely out of Life Fiber and aren’t exactly destructible like the paper-thin clothing usually given to girls in fighting anime.  And when the clothing destruction occurs, it isn’t without reason… or rather for more of a reason than showing some panties or boobs or something.  Rather, it’s a mechanism of how Ryuuko feeds Senketsu additional Life Fibers.  By stealing these from the clothes of the other Goku Uniforms, Senketsu is powering up at the expense of a little nudity and fanservice.  And to be frank, what would clothing damage do to Ryuuko or Satsuki?  I mean, their outfits are already revealing enough.  Any damage to their already scanty uniforms might reveal a toe or heel or shoulder or something.  And is that an effective way to show damage?  Or have any marginal effect on fanservice?  No, the system in place of clothes and clothing destruction for KILL la KILL makes sense.  KILL la KILL doesn’t really need any more clothing destruction than it already has, and on top of that, what we do see actually makes sense within the context of the series rather than being an excuse for easy fanservice.

Gingitsune (Episode 9)

Do the heralds in Gingtsune do much of anything?  Besides lazing around, napping and complaining, they really haven’t done much of anything.  Sure, they’ve solved a few inconveniences (or caused a few, like those monkeys), but they’re really just… useless.  Like, what is their importance to the series?  Or better yet, what is their importance to the shrines?  I’m sure Makoto would do just fine if she were a young shrine maiden without the help of Gintarou.  And the same thing for Haru.  And really, the same for any herald we’ve seen thus far.  And even if something significant happens, what capacity will they be able to help?  It’s not like their essential or anything, unless something else supernatural or divine shows up to cause a conflict.  Really, what is the purpose of their role in the series?  And although this really doesn’t detract anything from the series for me, it is something I’ve found myself curious about, especially after an episode about Haru like this.

Galilei Donna (Episode 8)

I’ve always adored personal tidbits and details in anime, ranging from character’s quirks to favorite foods to things that they hate and beyond.  In Galilei Donna, my favorite character traits are how the sisters all have specific, individual nicknames for each other.  The girls never call each other by their real names, helping reveal an interpersonal and emotional connection between the girls.  Whether it’s Hazuki calling her youngest sister ‘Hocchi’, Kazuki using ‘Hocchibi’ or Hozuki calling her older sisters ‘Haa-nee’ and ‘Kaa-nee’, the sisters of Galilei Donna add this tiny detail to demonstrate how close they are as a family and how they depend on each other.  It really doesn’t add anything to the story, but it’s a detail I can’t overlook nonetheless.  I’m always happy to see little qualities like this in anime, showing thought and effort to make the characters seem more human than just another anime stereotype.

Sakura-Con, being one of my most cherished and treasured memories of 2012, earns a spot again as the first day of my 12 Days of Anime, the annual tradition among anime bloggers recounting their 12 fondest memories of the calendar year.  Although I attended Sakura-Con in the previous year, the first time I have ever been to an anime convention, my trip this past March proved to be an even greater experience than my first visit.  While I attended fewer panels, spent less money and even spent less time at the convention hall altogether, I certainly earned more from my trip this year, largely in part due to all the people in the anime community I meet.  Thanks to them and thanks to the wonderful anime convention that was Sakura-Con 2013, this special three-day weekend in Seattle earns the opening spot in my 12 Days of Anime.

With this being my second trip to Sakura-Con, I knew what to expect.  I knew where I wanted to go, what I wanted to, what I wanted to see and was able to plan my trip accordingly.  However, most of these specifics weren’t found on any schedules or were tied to any panels or even set up for any predetermined times.  No, a major reason for my visit was to see various members of the anime community in person.  And while I only saw a handful in 2012, I went out of my way to see as many people as possible during Sakura-Con.  By the time Sakura-Con had concluded on that warm Sunday at the end of March, I had visited with no fewer than twenty-two people including fellow personalities like: 8C, Marina, Shinmaru, Inushinde, Morzas, Geassed, ToastCrust, Canon-chan, Angie, Kefit and many more (apologies if I forgot to mention anyone that wanted to be mentioned).  Seeing these people, along with a sizable group of real life friends, made the experience an unforgettable one.  Thanks to them, I was able to enjoy more of the panels I attended, but especially the time I spent outside the panels, either eating dinner or getting drunk after midnight.  Because of these people, and everyone else I spent time with at the convention center, Sakura-Con easily became one of my favorite experiences of 2013.

Beyond that, of course, is the actual anime and material from the convention.  Although it pales in comparison to the social aspects of Sakura-Con, I did find myself attending numerous panels, including ones from the directors of Psycho-Pass (Katsuyuki Motohiro and Naoyoshi Shiotani), a couple hosted by Anime News Network’s Mike Toole (Dubs that Time Forgot and Anime Cult Classics), the Architecture of Anime, a couple of comedy ones and the now-notorious Influence of Early 90’s West Coast Rap on Modern Anime panel.  Each were enjoyable or entertaining or valuable in their own unique ways thanks in part to a wide diversity of topics I found myself interested in and the interesting people leading these panels.  Outside of the panels, there wasn’t much else.  I was fortunate enough to see my favorite anime character naked projected on a huge screen, though (how many of you can say that?), and I purchased some goods that highlight my bizarre taste in anime, from Makoto Shinkai to Last Exile to Senran Kagura.

Overall, the experience is easily one of my favorite from the entire calendar year.  Not only was it an excellent event in augmenting and enhancing my enjoyment of anime, but the wonderful social aspect really emphasized how important the online anime community is to me and how it has had a positive influence on me.  As a result, I’m already looking forward to next year’s convention and am even planning on attending other ones, too.

To reiterate just how influential and significant the social aspects of Sakura-Con 2013 were on me this year, Day 11 of my 12 Days of Anime is reserved for a continuation on this theme but on a much broader and open scale.  Following the massive social event that was Sakura-Con, several local bloggers and internet personalities decided to form a cohort, of sorts, and meet at various times in Seattle as a means of maintaining our camaraderie.  What resulted was more than simple get-togethers with food and friends but a new medium of exchanging ideas on anime and getting to know people and their opinions that would otherwise be impossible on the internet alone.  What resulted were not only numerous enjoyable experiences but some of the best memories of 2013 in regards to anime.

Besides Sakura-Con, there were four instances where I met with other bloggers or internet personalities this year.  The events largely revolved around meeting at a restaurant, having a meal and then lingering at a place or wandering around.  So while these events don’t necessarily sound all that special, it was the content and conversations of these meetings that had a lasting impact on me.  No, it wasn’t that we talked about our opinions on various anime or some of our favorite moments or shared unknown, unheralded anime with each other.  Although those were major factors in making these events memorable, it was the style of the forum.  Rather, it was talking about anime in an intimate setting with people that ultimately stood out for me.  It was the emotions and expressions of people that added a whole new level to discussing anime that made these experiences one of the most treasured of 2013.

It isn’t that this is a means to usurp the role of the internet or Twitter or Skype when discussing various features and events in anime but a means to supplement it in a format unobtainable from the internet.  There’s just something special about seeing and hearing people laugh or get excited or become irritate when talking about various anime.  Furthermore, there’s something special about learning more about people and their tastes in anime when hearing them speak about than just reading some black and white text.  There isn’t a lengthy delays between communications either nor is there a chance for someone to pause, back up and rewrite what they’re thinking or feeling.  It’s a format of discussing anime that is largely foreign to me since the main outlet I have is this blog.  I could count on my thumbs the number of people I could discuss with anime before this, but now this number has expanded greatly.  This year has been special to me in how it’s augmented and expanded my social networks with other anime bloggers and internet personalities.  And thanks to these little get-togethers, I now have several fond anime memories of 2013.