Category Archives: Comedy

Good for laughs. This tag only applies to shows that have consistent attempts at humour or are particularly funny.

School Rumble – Anime Review

Japanese Title: School Rumble

 

Related: School Rumble 2nd Semester (included in review)

Similar: Ouran High School Host Club

Toradora!

Monthly Girls’ Nozaki-kun

 

Watched in: Japanese & English

Genre: Comedy Romance

Length: 52 episodes (2 seasons), 2 OVA

 

Positives:

  • Consistently funny.
  • Kenji Harima.
  • Quick pace.

Negatives:

  • Plot goes nowhere.
  • Low-end art.

(Request an anime for review here.)

When School Rumble introduces its main girl with the caption “Kinda stupid,” I know I am in for a good time. School Rumble hits with the jokes hard and fast, never slowing down to let us breathe, even to the detriment of its plot.

We follow the kinda stupid Tenma in her mission to confess love to Karasuma. Meanwhile, the almost as stupid delinquent-turned-supposed-softie Harima tries to complete his mission of confessing to Tenma. And then another student wants to confess to Harima, but then another guy wants to confess to her, and so on this love chain goes surround by hectic comedy.

Tenma’s introductory caption is accurate, for she truly is a ditz, which is usually not my kind of character. However, School Rumble treats her like a ditz and doesn’t allow her to get away with it – a nice change. In one dilemma, Tenma can’t exit the girls’ bathroom with Karasuma outside because if your crush sees you exit the bathroom it is embarrassing, or shameful, or something. I don’t know – this girl’s crazy!

Her target of desire, Karasuma, is similarly an inverse of the usual guy the main girl wants. He is boring. Not the ‘we tell you he’s cool to explain why the girl loves him but he’s actually boring’ kinda guy. No, Karasuma is boring by design. From his personality to his no-detail art, he is the definition of boring and treated as such. The humour surrounding Tenma’s inexplicable obsession with him is hilarious. Finally, a high school anime knows what the audience is thinking when Main Girl swears it’s True Love with Boring Guy.

The best character of all however, is Kenji Harima. Again, I am not a fan of the delinquent thug archetype due to their predictable arcs, yet with Harima and his depth of character and complexity, he’s nothing like the usual delinquent stock. The humour derived from fancying himself a sensitive guy now that he’s in love, while beating the snot out of people, works well. The episode when he becomes a Jesus/Buddha/Noah hobo with a flock of animals after he thinks he can never get Tenma gives me stitches. To cope with his unrequited love, he creates a manga about a guy and girl falling in love that look like him and Tenma, though he swears they totally aren’t the same!

His and Tenma’s schemes to show love towards their crushes are equally idiotic and hilarious. One early episode has Harima trying to tell Tenma that she’s forgotten to write her name on her test paper, which will fail her. He comes up with crazy yet clever ways of telling her without being caught by the teacher, but Tenma is so stupid that she doesn’t notice his hints. He even writes, “You forgot to write your name,” on his paper and shows it her, but she takes it as the literal answer to one of the questions… Oh boy, this is gonna be a long journey of love.

And a long journey it is, as the plot barely coughs forward after 52 episodes. To pre-empt any disappointment, let me tell you that the goal of saying ‘I love you’ to their crushes amounts to nothing. Even if the manga does give resolution somewhere in its 22 volumes, this go-nowhere plot is still a problem. “But it’s a comedy! Story doesn’t matter in comedy,” I hear you say. That is the case, sometimes, but not when the comedy presents its story so much. School Rumble keeps going back to Tenma and Harima’s story of confessing love, almost moving it forward, before resetting everything back to zero with some misunderstanding so they can play the same joke again a few episodes later. I get the impression that the writer didn’t know what to do for humour once the confessions were over, and so stayed in the ‘safe zone.’

To contrast with the similar Ouran High School Host Club, I find School Rumble has the better jokes, but am more satisfied with Ouran due to its conclusion. Nevertheless, School Rumble’s comedy is sharp enough to engage you. The quick pace of having 2-3 mini-episodes per full episode, rather than dragging one joke for 20 minutes, also helps. Though by the second season, I do get tired of episodes that focus on the confessions since it’s obvious they go nowhere.

Art – Low

School Rumble hails from the early days where computers replaced cel animation, and as such, looks serviceable, at best. One scene that stands out is when two characters are supposed to dance. One complements the other about how good a dancer she is – except they aren’t animated!

Sound – High

Energetic voice acting in English and Japanese provided by a great script of non-stop jokes.

Story – Medium

High school teens try to say, “I love you,” to their crushes, but fail amidst a whirlwind of misunderstanding, hijinks, and comedic chaos. Solid characters and excellent comedy make up for School Rumble’s go-nowhere plot.

Overall Quality – High

Recommendation: A must for high school comedy fans. I give School Rumble a High rating, despite its story problems, because the humour saves it. One episode is all you need to know if School Rumble is for you. Give it a chance.

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Awards: (hover over each award to see descriptions; click award for more recipients)

Positive: 

Hilarious

Negative: None

Kodocha – Anime Review

Japanese Title: Kodomo no Omocha TV

 

Related: Kodomo no Omocha OVA (alternate version)

Similar: Super GALS!

Gakuen Alice

Marmalade Boy

 

Watched in: Japanese & English (anime is dubbed up to ep. 51)

Genre: Comedy Romance

Length: 102 episodes

 

Positives:

  • So funny.
  • Understands children, girls in particular.
  • High energy.

Negatives:

  • The art is ugly, to put it nicely.

(Request an anime for review here.)

Did I really just see what I saw? Was what I saw really what I thought it was? Were my eyes playing tricks on me, my ears dancing with the devil? Is a show for little kids – an ugly show for little kids – truly this good? How?

I love Kodocha. When a dear reader requested Kodocha for review in the erstwhile era called January, I added it to my list for review, though told him that due to its length, it may take some time. What I didn’t say was that the art and premise made me, hmm, unenthusiastic (let’s leave it at that word) about watching it. A week ago, I found myself doing mundane work requiring little attention yet a lot of time, so I threw the first anime I estimated wouldn’t need much effort on my part – Kodocha. And slay me sideways if I didn’t laugh for hours on end. This anime I thought would take months of forcing myself to watch breezed by in a week, an effortless week.

Under the spotlight of Kodocha is child star Sana. Talented, successful, daughter of a famed author, popular – Sana has it all. The perfect life. Well, except for that brat Akito in her sixth grade class. Man, that Akito, he’s so mean, bullies the teacher, is rotten to the core, and stinks of cooties. Sana just wants to- to- RAAAARGH! (*Image of Sana tearing an Akito effigy in two here*) She will get that Akito back for making the teacher cry if it’s the last thing she does! But wait, could there be a reason why that brat acts out this way?

Kodocha’s heart is in the skill with which it captures children and the inner-child in us adults. These children misbehave, get up to god-knows-what, skip homework, clown around in class, – yes, even the “good” students – and cause an all-round riot. Kodocha allows them to be kids. It may sound simple, but you’d be amazed by how rare it is to find any fiction, never mind anime, that portrays children as real children. The innocent yet endearingly twisted view children have of the world is a difficult quality to distil. The comedy writes itself when you let kids run free.

However, because the team didn’t want to encourage the audience children from causing such trouble in real life, Kodocha often breaks the fourth wall to remind kids that you shouldn’t be imitating these troublemakers. The irony is hilarious.

More than just the mentality, I love the ‘kid’ moments it portrays, such as one kid accidentally calling the teacher “Mum” – been there, mate…been there. Everything from the class’s laughter to his burning embarrassment – perfect. Another joke I remember true to life was after Akito grabs Sana’s chest. “Now I’ll never be pure enough for a husband!” she cries. “Wait, he didn’t squeeze, so I’m okay!” I lost it. One girl in my primary school thought that losing your virginity meant being kissed by a boy – anywhere – so she would run terrified from any boy in class when close enough to “strike.”

After the initial Akito arc, the story goes from showbiz to classmate problems to paparazzi. The story moves at a good clip, covering a variety of scenarios for Sana and co. with the Akito romance overarching the whole. When the pace does slow for an emotional arc, the tone flows well from comedy to drama and doesn’t feel forced like many shoujo stories.

Kodocha isn’t above the shoujo tropes, such as a little girl with a crush on an adult man. Unlike the dregs of shoujo, however, this anime handles it perfectly, turning what is often an incarceration-worthy arc into one that shows true character growth, as Sana learns of the real world. The topic of adoption also receives more thought and care than given by the vast majority of anime. This dingy kids’ anime is more mature than Clannad and its ilk.

The number one shoujo trope – a recurring sequence each episode – morphs into a rap song by Sana, occasionally with backup vocals from her looney mother or caring manager. Yeah, you heard me; a little girl raps each episode as some form of pep talk. It’s corny as hell, but pluck my nose hair with tweezers if I don’t laugh every time.

Now, Kodocha has its faults. Obvious art issues aside, some episodes deliver tepid results and the boys aren’t depicted quite as well as the girls. They’re still great, but they needed to be more disgusting, in my opinion. I remember one classmate of mine used to scratch his healthy skin until it bled and scabbed over, just so he could then pick at the scab… The hell? And he wasn’t the worst. Kids will be kids…

So, here we arrive at the end and I still cannot believe I am about to give Kodocha a high rating and my warm recommendation. Am I really going to give an anime that looks this cheap a high score? Yes, I am.

Art – Very Low

Garbage. Let’s be honest – Kodocha’s art is awful from its animation to its detail. One-hundred and two episodes made on the budget for two, it seems. It at least has the energy and expressiveness to keep up with Sana’s antics.

Sound – Medium

The BGM is a tad generic and the voice work serviceable, but darn it if the enthusiasm doesn’t make you love it through all the flaws. Even the corny raps grow on you before long.

Story – High

A child star gets up to all sorts of shenanigans at school and in life with her oddity of a mother, loyal dog of a manager, and the naughty boy in class. Kodocha’s constant laughs – only interrupted by thoughtful emotion – and understanding of how children think and behave made it an easy journey to the end.

Overall Quality – High

Recommendation: A must for anyone with a piece of childhood still burning in their hearts. Kodocha is too much fun to pass up. Even if you don’t want to go the distance, a dozen episodes will brighten your life.

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Awards: (hover over each award to see descriptions; click award for more recipients)

Positive:

CharmHilarious

Negative:

Ugly Artistic Design

Noragami – Anime Review

Japanese Title: Noragami

 

Related: Noragami Aragato (season 2 – included in review)

Similar: Kamisama Kiss

Soul Eater

Bleach

Ah! My Goddess

 

Watched in: Japanese & English

Genre: Supernatural Action Comedy

Length: 25 episodes (2 seasons)

 

Positives:

  • Good fun.
  • Solid all-round.

Negatives:

  • Nothing stands out.
  • First season has little plot.
  • Lots of side tracking.

(Request an anime for review here.)

Japan’s Shinto religion, which Noragami borrows from, has hundreds of gods across all levels, from the goddess Amaterasu to your dead granny. With so many gods, some of them, surely, must be trash. Yato is one such trash god. The toilet god gets shrines, but this God of Calamity Yato doesn’t even have a birdhouse for people to pray at.

On a quest to build a shrine of his own, he takes odd jobs – bathroom cleaner, babysitting, etc. – for 5-yen payments at a time. Maybe his problem is that he’s so bad at business. Who knows…? High school girl Hiyori saves him from becoming road kill on one such odd job to find a lost cat. Alas, she takes the truck hit in his place, but instead of meeting death, it kicks her spirit from her body. While she can re-enter her body, she now periodically falls asleep and separates again to roam as a spirit with Yato.

Noragami tells us its main goal is to fix Hiyori’s predicament. However, it quickly abandons this direction to focus on Yato’s predicament as a trash god and his dark past that led him here. Before this, he needs a new spirit weapon after his previous weapon demanded release from serving such a trash god. Weapons in Noragami are born of human-like spirits, who transform into a weapon at their master’s command. Yato finds Yukine, a nubile spirit with potential that first needs human discipline. The weapons being people with emotions and a consciousness raises several interesting questions about the morality of their servitude. Either way you shake it, these spirits are slaves to the gods. One god may claim all her weapons are family, yet it doesn’t erase that their will is bound to her whims. This element, which many anime would have forgotten, is Noragami’s strongest and a thoughtful addition to character-with-monsters-for-weapons anime.

Once Yukine establishes himself as Yato’s new weapon, the plot moves onto another god and her obsession with killing Yato for a past crime. This is when the plot gets going and largely takes place in season 2. The first season is a lot of meandering and side tracking. Yukine as the focus isn’t interesting enough to warrant stalling the main plot for so long, more so because he’s the weakest of the cast. Noragami has a problem with being side tracked. If it’s not Yukine’s problem, it’s some other supporting character than needs help in a way that doesn’t influence the main plot. Season 1 comes down to a monster-of-the-week formula.

This chain of side tracking reminds of old point and click games. Alright, your goal is to open that door, so you need a key, but to get that key you need to help the hag on the hill, yet to help the hag, you must learn to cook, though cooking requires a journey to Nepal, where a monk will talk to you about the weather. Only then can you go all the way back to get the key (if you read the manga that is, for the anime doesn’t advance the first thread). Noragami’s threads at least relate to each other more than the nonsense I’ve just spouted, though their disconnected feel stems from each side quest eclipsing the main. It doesn’t feel as though Yato searches for a new weapon while helping Hiyori. Instead, one erases the other from existence until resolved, only for it to face erasure again when a new side quest pops up. This isn’t a serious issue, yet was an easy fix in the draft stage.

The saving grace among side quests is the humour. Noragami is consistently funny. Yato is a comedy machine when paired with Hiyori, whose narcolepsy jokes never get old. That said, a joke seems to act as a full stop to any serious scene, as if the writers were afraid of allowing the story to be serious for a moment.

I haven’t much to say about Noragami, for it doesn’t stand out in any aspect nor does it fail miserably in any either. My above criticisms aren’t experience-breaking issues while at the same time, the parts I like – people becoming weapons, the humour, the morality – don’t carry Noragami beyond the ‘solid’ realm. That’s it – Noragami is a solid show from characters to action. If you’re a fan of the genre and need your fix before the next greatness, Noragami will tide you over in solid fashion.

Art – High

Like the recently reviewed Hyouka, the little movements in Noragami’s animation, such as clothes shifting rather than staying stiff when walking, are a pleasant surprise. Creepy spirit designs – many eyeballs (don’t watch if eyeballs sprouting from human bodies makes you vomit).

Sound – High

Great energy in both languages – pick either – but I preferred the Japanese for having a crazier protagonist. It’s unusual to have legit English songs – it works.

Story – Medium

A low-rent god accompanied by a girl in limbo and his spirit weapon fight off spirits and gods alike, as he escapes his past to become a legitimate god. Noragami’s story is solid in most aspects, with no outstanding problems yet no strengths to stand out.

Overall Quality – Medium

Recommendation: For contemporary supernatural fans. If you like the high-school-kids-do-supernatural-things-in-our-world anime type, you will enjoy Noragami. Do note that you may have to continue on to the manga for a conclusion to Hiyori’s arc (it truly hasn’t advanced in the anime), as a third season isn’t confirmed.

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Awards: (hover over each award to see descriptions; click award for more recipients)

Positive: None

Negative: None

Nana – Anime Review

Japanese Title: Nana

 

Similar: Paradise Kiss

Beck: Mongolian Chop Squad

Kids on the Slope

 

Watched in: Japanese & English

Genre: Music Comedy Drama Romance

Length: 47 episodes

 

Positives:

  • Instantly likeable characters, flaws and all.
  • Balance of comedy and drama.
  • Punishes mistakes.

Negatives:

  • Poor structuring at times interferes with the flow.
  • Doesn’t do the music element as strong as other music-centric anime.
  • The end.

(Request an anime for review here.)

A train delayed by snow brings two women called Nana together. One Nana has no goals in life other than to be independent, hopefully breaking away from her incessant need to fall in love with every guy she meets. The other Nana, fiercely independent, seeks stardom as a punk rock vocalist while burying the hurt she feels from her ex-boyfriend, who abandoned her for another band. Love is far from her mind.

To make things simpler, I will refer to one Nana as Hachiko (her nickname given in the show) and the other as Punk Nana. As always, the anime’s name is in italics – Nana.

These women present themselves as likeable characters right away, conveying their personalities in an authentic manner on the train. Hachiko’s bubbliness spills forth as she gives Punk Nana an earful on her amazing current boyfriend. Meanwhile, Punk Nana’s reserved nature and maturity billows off her like the smoke from her cigarette. The two may be opposites but she can’t help smiling at the endearing Hachiko. The first encounter between these two girls is a masterclass in giving the audience a feel for the characters in minutes.

After the opening episode, we go back several years with Hachiko to her high school life of moving from one love to the next (Punk Nana receives similar flashback treatment later). Hachiko keeps falling for one guy after another, each older than her. She gives new meaning to falling in love at first sight. Guy delivers pizza – she’s in love. Guy cooks at the restaurant – it must be love. Guy breathes – love! Get a grip, Hachiko! None of these men return her attention except for a married man a decade her senior. Like the introductions, this is another case of excellent writing, for it establishes her flaw and its resulting conflict without a drawn out explanation.

Hachiko is a stupid girl, a girl that claims independence, but is entirely dependent on others, has no skills and no direction in life. She sounds like a terrible character, so why do I like her? She is authentic and the story doesn’t let her get away with anything. Her hypocrisy about independence leads to the negative turn after act 1. Her stupidity results in…well, to avoid spoilers, let’s just say I hope none of you, dear readers, makes the same mistakes she does. Her romantic view of life and love is punched in the ovaries by reality and maturity. A craving for love or rather, what she thinks is love leads her down a path of mistakes – to put it mildly. And as any great writer will tell you, the theme for your ultimate conflict works best when you start it early, giving the conflict time to resonate throughout the story until it builds from a ripple into a tidal wave that crashes over the protagonist.

Ever wonder why a story that suddenly goes dark in the finale never feels right, even if you can’t quite put your finger on the reason? It’s because it lacks that resonance. The story didn’t foreshadow properly, obfuscating its goal for the sake of shock value. Nana doesn’t make that error. Now, it never becomes dark like those other anime, but my point is that its heavy drama never comes out of nowhere, even when it barges into what we thought was a comedy episode. When a dramatic change occurs, it feels right because Nana never lied to us. It makes sense.

The relationship pacing for both Nanas and their respective boyfriends recalls His & Her Circumstances (don’t remind me of that ending! T_T) in how well they move forward, free of artificial stalling. The story does slow when needed through effective use of internal monologue in contemplative moments, which unlike Honey and Clover doesn’t tell us how the characters feel.

Due to the strong writing and fast pace, I couldn’t stop going from one episode to the next, watching 20 in my first sitting – even the terrible idea to repeat episode 1 as episode 6 didn’t stop me. However, the second act seems to double the cast overnight and both old- and new-comers must have their dedicated arcs. Like the author’s other famous work, Paradise Kiss, this doesn’t work. Side characters are side characters for a reason. You can’t make everyone lead singer. This is especially noticeable in the third act, where seemingly everyone must wrap their respective arcs before the Nanas can take their bows. The finale feels like having to shake everyone’s hand at the end of a wedding rather than riding off to the honeymoon. Between the flashbacks, repeats, and tangents, I could make a case to remove near 10 episodes’ worth of content from the total. The worst part? A random time-skip in the final episode raises several new questions with the Nanas and gives no answers. The manga is on permanent hiatus, I understand, but one has to choose such a weak end by design.

The end is similar in unconventionality to Paradise Kiss, which I liked in that anime, but Nana doesn’t guide us to that end with the thoroughness it requires. Relegating protagonists to the sidelines before the finale is not a good idea.

My other serious complaint would be with the music side of the story. After Beck, Nodame Cantabile, and Your Lie in April had such strong understanding of music and the industry, it’s a shame to see Nana offer so little. The bands don’t have many songs, there are no standout musical performances (the aforementioned three feel like nothing but standout performances at times), the concerts lack animation, and the industry insight only meets minimum requirements for fiction. The best music is in the opening and ending credits, not within the story. The sole detail of the music plot that stood out to me was its exploration of one’s fame affecting friends and family around you. I like how some react with joy, others with jealousy.

Ultimately, the characters carry Nana, especially with many being such engaging train wrecks. You can learn many lessons on what not to do in life here, which is where great drama originates.

Art – Medium

The characters have a distinct style and their animations are expressive, but that’s really it. Everything else from environments to animation is average.

Sound – High

I listened to the OP and ED most episodes. Sadly, music within the story is nowhere near the level achieved by other music anime. The voice work is great in Japanese and English, though I preferred the latter for giving Punk Nana a raspier voice.

Story – High

A fateful encounter brings two women with the same name yet opposing personalities together as they deal with love and life in Tokyo. Nana’s strong characters, complemented by punishing drama, make this anime an engaging ride despite some excess fat in the structure.

Overall Quality – High

Recommendation: A must for fans of intense drama meets comedy. Though Nana is a great anime, its crazy drama and ditzy protagonist may make your head spin before you reach the end of its long runtime.

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Awards: (hover over each award to see descriptions; click award for more recipients)

Positive:

Strong Lead Characters

Negative:

Weak End

Honey and Clover – Anime Review

Japanese Title: Hachimitsu to Clover

 

Related: Honey and Clover II (included in review)

Similar: Nodame Cantabile

The Pet Girl of Sakurasou

Eden of the East

Nana

 

Watched in: Japanese & English

Genre: Slice of Life Comedy Drama Romance

Length: 24 episodes (season 1), 2 OVA, 12 episodes (season 2)

 

Positives:

  • The older characters and their arcs.
  • Second season.
  • Some hilarious moments.

Negatives:

  • The dull protagonist and his meandering story.
  • Minimal animation.
  • Poor exposition.
  • Unfocused structuring.

(Request an anime for review here.)

Yuuta lives the life of a harassed art student, penny-pinching like Scrooge to survive the week on bread crusts while dealing with his eccentric roommate, Shinobu. A ray of sunshine enters his life when his art teacher brings his cousin’s daughter and talented artist, Hagumi, to class. Wait, wait! Sorry, wrong anime. Honey and Clover is actually the story of Ayumi, a pottery student with her heart set on a man obsessed with the wife of a dead man. Hang on – sorry – what’s this about Shinobu’s brother and getting back their father’s company?

Honey and Clover tries to tell too many stories. As a result, this feels like two different anime mashed together without interconnecting threads that weave them together. The stories don’t affect each other. This wouldn’t be much of problem if both anime were great, but this isn’t the case. Yuuta’s piddling romance with Hagumi, an eleven-year-old we’re told is eighteen, and his later pilgrimage to Japan’s north for self-discovery – a less funny Golden Boy – is so standard, so empty that he’s barely in the second season. The production team found him so boring that he becomes an extra in his own story! He only showed up so he wouldn’t get fined.

A student who studies and then graduates isn’t an interesting story. A student who fails from laziness, gets his life in order, and then graduates is a story. A coming-of-age story should have more drastic character growth than your typical genre, for we change most when coming of age, whether it is at thirteen or thirty. Yuuta’s story is your generic graduation journey. The writer tried to shake things up with his feelings for Hagumi, but she isn’t an interesting character nor does the relationship matter much between these two, so it falls flat.

A core problem of Yuuta’s story is in how it’s told. I have heard people say that one of Honey and Clover’s greatest qualities is the inner monologues that tell us everything about what a character is thinking and feeling. Notice the key word in that sentence? Tell. These characters are telling us how they feel instead of showing us through actions. Look at it this way – if you muted the monologues, would you still see the same character information? If the answer is ‘no’ then the monologue was the writer’s crutch when lacking the talent to show this information. An angry character doesn’t tell us he’s angry – he punches something. A lonely character doesn’t tell us he’s lonely – he looks with sad envy at a happy couple. I’ll give you one guess as to who has most of his character told to us through inner monologue. Praising the monologue is like praising someone who treats you as an incompetent. The live-action series (Japanese version) does better with Yuuta.

Then we have Ayumi and her ‘love chain’ (it extends through a dozen people, at least, by the end though many of its members are for comedy). The man she loves is in a ‘friendzone’ of sorts with a widow, who is traumatised and has the scars that will forever remind her of the tragic loss. It’s pathetic to watch this man crave her, in the good narrative sort of way, as you think, “I would probably be the same in his shoes.” We see what a potion of love, lust, sadness, and loneliness looks like.

Ayumi is spectator to this display, just as pathetic as the rest of them (again, in a good way). She doesn’t have a monologue that treats the audience like idiots. More importantly, the characters in her story have complexity – I hate most of the men involved, which is great! I find their actions creepy or even despicable, but it works because I buy who they are and why they make these decisions. Honey and Clover is at its best in the second season when Ayumi’s arc reaches the climax. I wish they had made this anime as two separate stories. This would have improved Yuuta’s story as well with Ayumi no longer monopolising all the drama. As is, his conflict-light story seems to serve as a break from Ayumi’s drama more than to tell his story.

One element you should be aware of as a prospective viewer is Hagumi. There is no getting past the fact that she looks, sounds, and behaves like a little girl. Her story ends even creepier than I anticipated. (Notice how neither the Japanese nor the Taiwanese live-action versions of Honey and Clover hired a little girl to play Hagumi.) Even looking past this, her depth amounts to ‘be cute.’ That’s it.

To end on a happier note, I want to talk of the comedy. Honey and Clover is quite funny overall. Shinobu steals the comedic scenes. From his hijinks with his sculpture professor to his work with film director “Peter” Lucas, Shinobu is hilarious. To be honest, he feels like a superfluous character at first, but soon earns his place on the cast.

I debated at length on whether I like Honey and Clover or not. When I think of the Ayumi’s arc, I find myself recommending it. Then I remember Yuuta and I grimace – surely, I can’t recommend this, no? After much deliberation, I concluded that the second season made it worth my time, regardless. If I didn’t know better, I would say season two had a new author.

Art – Low

As with most slice of life anime, the budget wasn’t large. The art looks good in stills thanks to the style, but the motion is rigid and limited.

Sound – Medium

The opening songs sound like a drunk child screaming about their preschool woes during karaoke. Less obvious exposition for the sake of the audience would help this otherwise decent script.

Story – Medium

A group of artistic friends seek meaning and success in life. With too many stories to tell, Honey and Clover oscillates between interesting and bland characters, engaging you one episode and boring you the next. If it were just Ayumi’s story, I would give a high rating.

Overall Quality – Medium

Recommendation: For slice of life with romance fans. If you aren’t willing to sit through twice as many episodes as necessary, Honey and Clover isn’t worth starting. That is unless you love slice of life and can subsist on a shallow protagonist doing ordinary things.

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Awards: (hover over each award to see descriptions; click award for more recipients)

Positive: None

Negative: None