Tag Archives: Anime

Scum’s Wish – Anime Review

Japanese Title: Kuzu no Honkai

 

Similar: Rumbling Hearts

White Album

Watched in: Japanese

Genre: Romance Drama

Length: 12 episodes

 

Positives:

  • Beautiful art and shot composition.

Negatives:

  • Immature view of sex, masquerading as maturity.
  • So much ‘almost sex.’
  • Boring lead.
  • Everything is a few beats slow.

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You want a messed up love polygon? Hanabi is in love with her brother and teacher, but he’s interested in another teacher. Meanwhile, Hanabi’s classmate is in love with that other female teacher. To cope with the heartache of unrequited, forbidden love, Hanabi and the guy date each other for sexual and emotional comfort. They are each other’s replacements. However, another girl is in love with Hanabi, while the pretend boyfriend’s loli sister is also in love with him. Got all that? Lesbian -> Hanabi -> brother/teacher -> co-worker/teacher <- pretend boyfriend <- little sister.

Despite the messed up premise, my first thought was to question if Scum’s Wish would go far enough. The crueller the setup, the more likely an anime drama will chicken out before the end and not deliver the promise. When Scum’s Wish revealed that the brother wasn’t Hanabi’s real brother, I knew how this would end.

Scum’s Wish engaged me with its beautiful cinematography and emotional weight. Hanabi latched onto her brother and father figure, thinking they’d be together forever after the lack of a real father left her with emotional issues. It’s tragic.

Then the classmate’s little sister enters the picture, breaking the tone. She feels like a character from a trashy harem, not a tragic romance. Throw in the lesbian best friend with the hots for Hanabi, and the love polygon goes from tragic to comical. The teachers and students were enough. These extras comes across as characters meant to distract you from the shallowness of the main threads.

The ‘doesn’t go far enough’ problem is no more prevalent than in sex scenes. There’s a lot of almost sex. The artists put their all into animating each sex scene with smoothness and detail to maximise sensuality and eroticism. (Just imagine One Punch Man’s action scene animations, but for characters feeling each other up.) Yet, someone always backs out at the last moment.

Scum’s Wish was pitched to me as “the anime most mature about sex in years.” Now I don’t know what to think of the people who told me this – they were adults, too. Look, just because you censor less than a shoujo romance, it doesn’t make the sex any more mature. Almost every sex scene is “Gyaaah! Not there! Don’t look at me. Nyaaah!” They sure use the ‘one character on top of another, when the top starts crying and tears fall on the other’s face’ scene five times too many. It’s no different from any other immature relationship anime.

The villain of this story is the female teacher, surprisingly enough. She is aware of Hanabi’s desire, as well as all those who are after her, and she loves it. The teacher thrives on how much people want her – if she’s taking away someone’s crush in the process, then all the better. A unique villain, to be sure. Sadly, even she doesn’t go far enough. Her arc – hell, everyone’s arcs – resolves with the tension of wet toilet paper. Scum’s Wish simultaneously puts its characters in cruel scenarios while treating them like fragile ornaments that can’t suffer the slightest nudge, lest they break.

The fragility also weakens any emotional impact. March Comes in Like a Lion conveys emotion much more effectively, all while using a quarter of the words – silence instead of the excessive internal monologue found in Scum’s Wish.

The story has nothing beyond the relationship drama – no one feels like a real person with a life, even if a miserable one. Hanabi is worst of all. She is a passive, feeble character that rarely takes action. The plot doesn’t move forward at her behest. Someone else takes charge while she lies there going, “Gyaah! No…”

Maturity? Look elsewhere.

Art – High

The art is gorgeous, soft and elegant – I love the eyes. The shot composition is great at conveying multiple perspectives and emotions at once. Editing could be quicker. Character heights are oddly inconsistent – in the first scene, Hanabi bumps into a guy, coming up to his chin, but then two shots later, she is half a head taller than before!

Sound – Medium

Decent acting and calm music.

Story – Low

A love polygon of ridiculous dimensions messes with the emotions of every student and teacher involved. Scum’s Wish tries to be mature about sex, but devolves into immature melodrama that stretches reason beyond intrigue.

Overall Quality – Low

Recommendation: Skip it. Scum’s Wish won’t be for you unless you love sexual melodrama.

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

Positive: None

Negative:

Shallow

Hand Shakers – Anime Review

Japanese Title: Hand Shakers

 

Similar: Kiddy Grade

Get Backers

Big Order

 

Watched in: Japanese & English

Genre: Supernatural Action

Length: 12 episodes, 1 OVA

 

Positives:

  • None that I can imagine.

Negatives:

  • The CG. That awful, awful
  • Camera won’t keep still.
  • Meaningless action.
  • Predictable in every way.
  • The music loops.
  • The whole handholding gimmick.
  • Amounts to nothing.

(Request an anime for review here.)

Jesus. Christ. Welcome to CG hell.

Hand Shakers doesn’t even try to ease you into its septic tank; it shoves you in with the opening scene, where a kid ties a girl in bondage with the worst CG chains as he demands more power of her (by stomping on her crotch), unleashing more hideous chains across the duel arena. Maybe if they spent less time on the boob physics and more on the animation, it wouldn’t haunt the audience for life. One scene, that’s all it takes to know you are in for some grade-A slop.

In the world of Hand Shakers, designated couples can summon powers known as Nimrods by holding hands to duel other such ‘Hand Shakers’ in the alternate plane, Ziggurat. The couple that defeats all others will earn a meeting with God to have a single wish granted.

Where these powers come from exactly, how they work, why God would have this absurd tournament, or how these people got chosen, aren’t questions for which you should be seeking answers. Hand Shakers will give you nothing. Its true desire is to shove that CG down your throat until you’re gagging out of every orifice.

People think Berserk 2016’s CG is bad – it is – but it has nothing on Hand Shakers. Why do these CG-heavy shows treat the camera like a dog toy, throwing it about everywhere as though angles, shot composition, and timing don’t matter? Hand Shakers’ camera cannot seem to keep still. Just because you don’t have to redraw characters when changing angles, does not mean you have to swing the camera around like a drunk. One early scene has Protagonist Kid talking to some girl in class and out of nowhere, the camera circles around the pair (now in full CG) in a sweeping motion as if to suggest something grand is happening. You want to know what they’re talking about? How much he concentrates when tinkering with electronics. Woah, easy there! There’s no need to leap out of your seat with excitement. I know this camera just blew your mind, but keep it in your pants, please.

When filming the action of meaningless nonsense, the camera is jittery, flying all over the place with no rhyme or reason. The artist’s graphics card also needs an upgrade to hit more than 15FPS. Hand Shakers looks even better with the random use of fish eye lens and this screen filter that darkens the bottom of every shot. Is the ground supposed to be darker? Who cares!

The greatest, the crowning glory of this eyesore graces our eyes in episode six. Now, those chains looked bad, Protagonist Kid’s cogs (yes, his power is controlling cogs) are eye cancer made manifest, and characters changing to CG on the fly is as jarring as pickles in a sealed glass container, yet none of these come close to episode six. In this episode, Protagonist Kid and his dead-loli partner fight against the Children’s Card Game Kid and his big sister (she wants to bang that shota dingle-dangle – what a shocker). Card Kid’s power is summoning monsters from his TCG. When he summoned that Flame Emperor Dragon, I pissed myself with laughter. My expectations were already at the bottom of the cliff – I couldn’t go any lower, and then Hand Shakers proved me wrong. My expectations were now falling towards Earth’s core.

All the ugliness could be tolerable if the story and characters were good. No. None of this anime is good. The entire gimmick is that the main couple must hold hands for everything – the girl will die for some reason if he lets go. Could you be any lamer? I swear this is the author’s fetish, expressed by self-inserting into this nonsense. It’s the only explanation for this handholding obsession. Oh, you know those powers called Nimrods? Nimrod is an archaic insult, meaning idiot. Fitting.

Hand Shakers is also predictable. See two people together – one male, one female – in an episode? They will be the next opponents. (Do try to act surprised when they reveal themselves.)

None of the dialogue says anything throughout this story and the characters are equally empty, no more so than the loli girl Protagonist Kid enjoys going to the bathroom with (“The rules say we must hold hands at all times, so you must let me watch you tinkle!”). She has no personality. Like with all characters in this rubbish trope, this is by design because it makes her “mysterious” and “deep.” When she does show emotion later on, it makes no difference.

Remember the ‘never let go’ rule? Well, it doesn’t matter, for he does let go several times to no consequence. In one instance, he’s so distracted by a conveyer system at a restaurant that he doesn’t realise she’s gone, somehow vanished in an open area with few people around. The writer was too lazy to include a crowd to add some believability to this shallow conflict.

So, like every aspect of Hand Shakers, it all amounts to nothing in the end.

Art – Very Low

Ugly CG permeates every scene. The camera swings about wildly because it can. Fish eye lens. Shading filters. More boob physics than any other animation. Jittery camera. Some imagery is nice, but the list of artistic problems never ends in Hand Shakers.

Sound – Very Low

Was this truly successful enough to warrant localisation? No actor could make this script sound good. I swear to you that each track loops the same twenty seconds of music.

Story – Very Low

People who gain power by holding hands as a couple fight each other to gain a wish from God. Hand Shakers is a predictable mess that results in nothing.

Overall Quality – Very Low

Recommendation: Avoid it. Hand Shakers is only for those with a morbid curiosity of the worst CG anime can offer. Not even ‘so bad it’s good.’

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

Positive: None

Negative:

Awful DialogueHollow World BuildingHorrendous ActionIncoherentMary SueNo DevelopmentRepetitiveRubbish Major CharactersShallowUgly Artistic DesignUseless Side Cast

Mobile Suit Gundam: The Origin – Anime Review

Japanese Title: Kidou Senshi Gundam: The Origin

 

Related: Mobile Suit Gundam: The Origin – Loum Arc (sequel)

Mobile Suit Gundam (original version)

Similar: Code Geass

Legend of the Galactic Heroes

 

Watched in: Japanese & English

Genre: Mecha Science Fiction Action

Length: 4 episodes (1 hr. each)

 

Positives:

  • “Char” Aznable.
  • A Gundam protagonist that earns every step of his power.
  • Mix of politics, assassinations, and war.
  • No Gundam vagueness.

Negatives:

  • Ill-suited slapstick.
  • (Where is my next episode?)

(Request an anime for review here.)

Mobile Suit Gundam: The Origin is pitched as a retelling of the series that started it all, Mobile Suit Gundam. Of course I would watch a remake of a classic I enjoyed. I thought we would open on Amuro, the original protagonist, so when it focused on a blond child called Casval and his little sister, I admit to my confusion. Where’s Amuro?

As it turns out, Gundam: The Origin starts before the original, at the inciting incident that led Char Aznable on the path to become such an enigmatic figure in the wars to come. I am hooked. Char is the most interesting character in Universal Century Gundam, so to see him as protagonist, with his backstory explored in depth, is a delight.

After a teaser of adult Char in a space battle, we return to him as a child on a space colony. His family’s high-class life shatters with the sudden death of his father, an advocate for Spacenoid (citizens of space colonies) independence. The father’s supporters smell foul play in this “natural” death and anarchy breaks loose on the streets. Everything is in disarray. Who’s in charge? Who’s allied with whom? What does each player in the game want? Answers are hard to find.

Char, his sister, and his mother are now valuable pieces in either inciting further action or quelling the riots. Life pushes them around. For Char, however, this isn’t a life worth living. He begins to plot a course towards revenge. Will he get revenge though? And on whom? With so many players in the game, his quest won’t be an easy one.

Gundam: The Origin is a good show in all aspects, but Char makes it great. As an anti-hero, we are never quite sure what he will do to achieve his goal. When he’s friendly with someone, we a never sure if he’s actually friends with them or up to something. Up to something – that’s a good way of summing up Char. He’s always up to something

Beyond him, Gundam: The Origin has an extensive cast, each with a purpose in this political maelstrom. Friends, enemies, or somewhere in between, you will meet all sorts. Barring some random slapstick, the cast feels written for an older audience than typical Gundam, which I suspect stems from having an older protagonist in Char. It’s a refreshing change, especially coupled with him earning power and skill through work rather than having it all thrown at him like other Gundam series (Unicorn) that I will not mention here (Unicorn).

The writing as a whole is leaps better than what I expect from a Universal Century series. Vague dialogue is nowhere in sight. No one stands in the open cockpit of a mech preparing to self-destruct while they spout some “cool” line instead of running clear. The conflict and political landscape is coherent (unless intentionally masked for story), free of the vague nonsense that plagues this franchise. There is no rambling on about the ‘dialogues’ to come, the ‘dialogues’ that will solve all, the bloody ‘dialogues’ that will answer the meaning of bloody life! No complaints about the writing from me this time.

And so, we reach my major gripe. Where is my next episode? I want more, damn it! You can’t just start the story, give me all this good writing, an amazing protagonist, political intrigue that makes me lean forward, and then just end it right there. What are you playing at, Sunrise?

If future Mobile Suit Gundam: The Origin entries maintain this quality, it could very well earn a ‘Very High’ rating from me.

Art – High

The chaotic action scenes use CG for the mechs and ships, but it works well, as spaceships don’t need much work and the particle effects mask it well. Unlike the recent Berserk that has random camera movements, just because, Gundam: The Origin takes advantage of the CG with a dynamic camera that dives into the action. Everything else is clean.

Sound – High

Good voice work. The script is less wishy-washy than other Universal Century Gundam. When a character needs to say something, they say it.

Story – High

A retelling of the original Mobile Suit Gundam, but from before the start with the events that made Char the legend he has become. I expected another Gundam Unicorn; I got something great instead.

Overall Quality – High

Recommendation: Watch it. Mobile Suit Gundam: The Origin is a great place to start for newcomers to the gargantuan franchise, while also giving plenty to veterans.

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

Positive:

Deep NarrativeStrong Lead Characters

Negative: None

Tomorrow’s Joe – Anime Review

Japanese Title: Ashita no Joe

 

Related: Tomorrow’s Joe 2

Similar: Fighting Spirit

Rainbow

 

Watched in: Japanese

Genre: Boxing Sports Drama

Length: 79 episodes

 

Positives:

  • Joe’s rivals, Rikiishi and Carlos.
  • Rough art aged surprisingly well.
  • Greatly improves in the second half.

Negatives:

  • Insufferable protagonist.
  • Too much of the comic relief.
  • First half is a slog.
  • Audio did not age like the art.

(Request an anime for review here.)

Joe Yabuki is a douche. A giant douche. Never has a bigger douche roamed the lands of Japan, itching for a fight. He wants trouble. Drunkard and former boxing coach Danpei witnesses Joe’s latest street brawl and sees something in his punch. Though Joe is vulgar, he has potential for greatness in the ring and he could give Danpei a reason to live again.

Tomorrow’s Joe is Japan meets the Wild West. Everything has this dusty ragged look, from the art to the characters. Joe’s whistling echoes across the windswept streets of the slum, creating a lonely and downtrodden atmosphere.

The archetype of starting as a delinquent before finding a purpose in sport/music/art is a common one. You expect the character to grow as a person over time, both in skill and temperament. Joe is in dire need of the latter. See, when I said he is a douche, I should have made it clear that I meant throughout the entire series. I’m unsure if I can think of a more unlikeable protagonist. He is a prick to everyone even when he has no reason to be, especially to those who care for him. Speaking of, it makes no sense to have a gang of children, Danpei, and many more besides to be so obsessed with him. No one would stand by him after the fifth instance of douchery, let alone the tenth. And why does no one object to little children hanging around a dangerous criminal all the time?

Shortly into the story, Joe is arrested. He has the opportunity to go free if he doesn’t act like a prick. Of course he acts like a prick. Later, after the kids and company do all they can to support his release, he again has an opportunity, but lo and behold, he’s a right arse to the judge as well. This happens every episode. He tries excessively hard to be cool – the number of face punches he takes without falling is another effort to convince you he’s cool. Even the worst protagonists must have a point of sympathy for the audience. Why would anyone want him to succeed?

The repetitive cycle of dickery results in a glacial pace for the first act, which mostly takes place in prison. Even after prison, the story is mediocre. Not until around the midpoint does it start to become interesting.

Opposite Joe, we have two great rivals and without them Tomorrow’s Joe would have little value. The first is against Rikiishi, a fellow inmate who is Joe’s opposite – upstanding, polite, and disciplined, which irks Joe to no end. Carlos from Venezuela joins the series later. When the story focuses on the rivalries – prep through to the matches themselves – Tomorrow’s Joe is at its best. Some episodes are top tier quality. An episode that will stick with me for a long time is with Rikiishi losing his water weight before the weigh-in and the loss of his mind in the process. It makes the others all the more disappointing not to have the same passion and emotional intensity.

So, Tomorrow’s Joe gets better around halfway, but asking someone to stick around for forty episodes is a bit much. If it were spectacular in the end, maybe.

Art – Medium

The rough art comes across as style rather than errors, which ages it well – fights look good. One can see the French influence in the line work and character design.

Sound – Low

The music is okay – I like the whistling – but the voice audio is bad. The higher the voice, the worse it gets. The bass is shallow while the mic breaks against a high pitch. When the little fangirl screeches, which is often, your eardrums burst.

Story – Medium

A delinquent wanderer must find disciple through boxing if he is to survive prison and the world beyond. The first half is a challenge to clear – owed in no small part to Joe being insufferable – though it’s better once the boxing gets serious.

Overall Quality – Medium

Recommendation: For old anime fans only. You have to love the rustic style of Tomorrow’s Joe to make it seventy-nine episodes (more if you go for the sequel). Interestingly, a love of boxing isn’t required (unlike Fighting Spirit), as character drama takes precedence.

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

Positive:

Phenomenal Villain

Negative:

Ear Grating Voice WorkPoor Pacing

Now and Then, Here and There – Anime Review

Japanese Title: Ima, Soko ni Iru Boku

 

Similar: Grave of the Fireflies

Vision of Escaflowne

Future Boy Conan

Bokurano

 

Watched in: Japanese & English

Genre: Science Fiction Drama Adventure

Length: 13 episodes

 

Positives:

  • Grim environments.

Negatives:

  • Little world building.
  • Doesn’t go far enough.
  • Uninspired and cheap character art.
  • Protagonist isn’t quite right.

(Request an anime for review here.)

When you set your story in a dystopian world where children kill each other, you must have your child characters kill each other. It is not enough to say that it happens in the world, yet somehow doesn’t happen around your characters. If you say the world is cruel, that is how cruel you must be as a writer. Now and Then, Here and There fails in this regard.

Our story starts in Japan with ordinary boy Shu going through an ordinary day, until he sees a blue-haired girl by the name of Lala-Ru. While defending her from attack, he is transported to another world, where water is most precious and drives war. That girl he was with, she can unleash water from her pendant and control it, making her priceless, especially to the mad king Hamdo. Shu meets another girl while imprisoned. She is Sara, who also teleported from Earth and is trapped in this desolate world. It’s not long before Shu’s captors conscript him into a child soldier army, whose primary job is pillaging villages for women to force into breeding more soldiers for Hamdo’s army.

As you can see above, Now and Then seems like a suitably grim tale, so how does it fail? Well, for a story about child soldiers, they don’t kill much.

Take a moment with me to imagine that everything in the blurb above described an adult male joining an army of adults in a world war. How much killing would you expect in such a story? Tons – you wouldn’t even have to think about it. Every WW1/2 movie on the frontlines kills people by the hundreds in a single scene. Now think of a child soldier army in WW1 – would the killing be any less? No. Of course, Now and Then’s world has a small population, but you can use relative scaling. The fundamental problem with this anime finds its roots in how lenient it is on its characters. Yes, even with one of them being raped (she has the arc that matches the premise most).

In the Warhammer 40k universe – the grimmest of all fiction universes – you don’t get stories of peace, of happy times, of paradise. “In the grim darkness of the future, there is only war,” is its tagline and therefore, paradise has no place in Warhammer 40k stories. If Now and Then’s author wasn’t willing to kill paradise and its children, he shouldn’t have written this story.

If I may divert towards Shu for a moment, I want to talk of his problems in this story. He isn’t a good fit, which is an odd thing to say, for he is by design an outsider to this foreign world. His starting point as an eternal optimist (read: every battle shounen protagonist) is fine and juxtaposes the grimness. Unfortunately, he doesn’t change with the experiences in this world, unlike Sara, the superior character. Shu’s reactions to this world are too…normal.

His obsession with Lala-Ru also makes it difficult to find emotional resonance. She has no personality. The author may as well have removed her and had just the pendant as the maguffin – wouldn’t have removed any emotion.

The war and the world suffer similar fates. Despite the widespread conflict, Hamdo’s flying fortress, and all the characters, this world doesn’t feel lived in. I can best describe it as a bunch of actor on stage with naught save a nice backdrop. You never get the sense that they are in the world of that backdrop. This all ties back to my earlier criticism of the characters. Without an emotional connection to the characters, the world, and the conflict, it all ends with a void, a void filled by niceties that shouldn’t be here.

Now and Then is halfway there. Some events are horrific and a reveal at the end of a supporting character’s arc is perfect for the genre. But where Now and Then fails, is in showing us the gravity of these moments. When a child shoots someone, it doesn’t feel like a traumatic event. When someone dies, it has the same impact as a throwaway character from the likes of Aldnoah.Zero or any ‘kids in war’ anime. And if this were pitched as a story like those action shounen, it could get away with a lower emotional ceiling. Now and Then, Here and There should be heart-wrenching.

It isn’t.

Art – Very Low

No detail to the poorly designed characters. The colouring is flat. They used the least animation they could get away with. While the backgrounds look great, everything else is cheap.

Sound – Medium

The main kid has an annoying voice in either language – trying too hard. Other voice work is fine. Watch it in Japanese.

Story – Medium

A boy finds himself transported to a world where water means everything, and beside him is a girl that can control water. Now and Then, Here and There’s dystopian tale of child soldiers and war doesn’t go far enough to earn the premise it presents.

Overall Quality – Medium

Recommendation: For dystopian fans only. You have to be a fan of the genre to find your time worthwhile with Now and Then, Here and There. See Grave of the Fireflies for how far it should have gone.

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

Positive: None

Negative:

Hollow World Building