Feeds:
Posts
Comments

Posts Tagged ‘harem’

What happens when you have a cool, head-trippy idea, but haven’t worked out the plot past the first two episodes? If you’re the people behind Stein’s Gate (or should I say “Stein’s; Gate” — what is up with that mangled punctuation?) you just go for it anyways. Most people watching won’t even notice that the last seven episodes are filler, especially if you throw in pervy jokes to cover up the lack of plot! You’re as good as rolling in the dough at that point.

Episode one was fascinating, freaky, odd and darkly humorous. The second episode was about 90% of the quality of episode 1, the third, 70%, and by the fourth episode I didn’t care if the series continued or not. Some anime`s fail catastrophically (like Dog Days, Miracle Girls, and Hana-Saku Iroha); others just suck from the start; but Stein’s Gate is a slow-motion fail.

In the end, the boredom caused by watering down the plot, the perviness, and the glacial pace just proved too much for me to handle. I should have known that any series dealing with time travel was destined to fail, anyhow! Like Higurashi no Naku Koro ni Kai, Stein’s Gate failed as a series. If it had been a movie, it wouldn’t have reached the level of The Girl That Leapt Through Time, but it would have been fairly decent, I imagine.

Welcome to the graveyard, Stein’s Gate!

Advertisements

Read Full Post »

Kurenai is a plodding, leaden, mostly unemotional 12-episode anime` that debuted in 2008. It’s mostly plot-based, although there are occasional interesting flashes of characterization and humor, on the order of a handful every two episodes or so. The music is wholly uninvolving, neither adding to the emotion, nor detracting from it, but rather it just exists the way a refrigerator or a dryer exists. While Kurenai touches upon some bizarre/unsettling topics, it does so in such a way to make them unemotional as well; the animation style is also to blame herein. The colors are dark, muted, stripped of vibrancy, and the character’s facial expressions follow with a wooden response.

The plot is rather basic and takes a while to unfurl. It’s all about Shinkurou, who is a dispute mediator, who does jobs for Benica. One of these jobs is protecting Murasaki, a seven-year-old girl, who has been removed from the inner sanctum of the Kuhōin household. Murasaki has never been outside the sanctum, so she learns to adjust to the outside world, and the Kuhōinis try to get her back.

There are sexual references and these are occasionally crude. Profanity is uncommon. Gore is rare and unexpected. As for moral viewpoint, it’s the usual self-betterment/positive Japanese cultural perspective. There’s no paganism or Shintoism mentioned (except for one visit to a shrine) but neither is God positively mentioned. The lack of moral perspective seems strangely absent, given what many of the characters go through.

No one episode is better than any other; they all run together like clouds upon a rainy day. If you make it all the way to the end, you find out that aside from the major conflict being resolved, nothing else has changed. It’s frustrating and kind of depressing.

If you’ve watched the Kurenai OVA first, save yourself the trouble of watching the series. The OVA is worlds better in terms of animation, humor, and characterization. And it’s funnier, warmer, and doesn’t restrict itself to a dead color palette.

Kurenai isn’t very good, but it’s not sludge, either. About the only thing it’s good for is occupying your time if you have nothing else to do. I guess the best way to describe how I feel about it is “meh”.

Look for the BSS batch subs (1.82 Gb) at a torrent hole near you.

Read Full Post »

Anime` fail is a syndrome common to most anime`s — they start out with a bang and then quickly devolve into stupidity, perviness, lameness, or all three. Somewhere along the way (usually episode 6 or 7) the writers will come back from their sake-inspired hiatus and create another good episode, and then leave the rest of the series to rot. Ookamikakushi is a case study in anime` fail.

That they took such a potent mix of theme, atmosphere, and characters and just peed it all away is even more frustrating. Basically, Hiro and his family move to a new town for his father’s employment. Hiro is immediately liked by everyone (especially Suzukara), but people quickly start disappearing. The camera angles and the special effects cooperate, early on, to create a tense, pulse-pounding conspiracy of fear. Later, why Hiro is so irresistible is explained as the mysteries around the town start to reveal themselves. There is occasional blood, but not gore; there are a few profanities every other episode, and there are some suggestive scenes that were not handled with much class or taste. Towards the end, the theology wanders off into typical Shintoistic crazy-land, too.

Here’s the short guide if you’re interested.

* 1– When I saw the preview, I thought that it was another perv series. It’s not. It’s a horror series that creeps up on you and unsettles you pace by pace, at least until the very end where it gets a bit obvious. It gives a different spin on some familiar anime` settings and there’s no profanity.
2 — Not as good as the first. The preview looks even stupider. Geez, what happened? The atmosphere is still unsettling, just not as intense as the first. I get the feeling that while the point may be good, they will just trash it up en route. This episode has a hint of perviness and it looks like it’s downhill from here.
3 – Pervy. Why do series always have to take a trip into the toilet?
4 – Good. Eerie but herky-jerky. The MC gets a big clue as to what’s going on.
5 – Middling, but the ending is a revelation.
6 – Not all that. The focus going in and out is annoying, and there’s perviness. The whole atmosphere isn’t consistent from show to show. I want to quit.
7 – Good. Things get complex.
* 8 – Very very good. One profanity. The whole episode is tense.
9 – This is a really weird and disturbing combination of barely-repressed erotica and horror. It’s a little bit more than I can handle. I don’t think this is a good thing to watch, really.
10 – Just kinda there.
11 – LAME. The ending is stupid on about twenty different levels; the whole feel is totally different than the series, and it’s just not convincing. There is a preview at the end for something that looks even more unrealistic and crazy.
12 – LAME. I get the feeling that this is a bonus episode, but it’s basically a self-parody. Why bother?

Welcome to the graveyard and screw you for wasting my time, Ookamikakushi!

Read Full Post »

Kanon is one of those rare anime`s that’s consistently just ok. It misses opportunities to reach for grandeur, and it usually avoids opportunities to fall into the gutter. In short, it’s not bad, and it’s not great.

The story itself is rather familiar, involving lost memories, a guy meeting several girls, and a crazy twist towards the end. The music is just there, not distracting and not emotional. The animation quality is just shy of atrocious, but in time, you get used to it. Its sins are garden variety as well: occasional profanities, perv camera shots, a few mentions of boobs. Altogether, an episode or two are worse than the rest.

Again, it’s nothing you haven’t seen before, but on the other hand, quite a few anime`s suck a lot more than this. It consists of 13 episodes and apparently was remade in 2006. The 2006 version seems to trash it up a bit more, offering improved animation as some kind of compensation. However, it’s just a remake, so there’s no reason to watch that if you’ve seen this (or vice`-versa).

Icchan has a version on YouTube if you’re interested.

In the end, you can take Kanon or leave it, and it really doesn’t matter either way. I’ve never felt so ambivalent about an anime` before. Weird, huh?

Read Full Post »

I won’t break down Air on an episode by episode basis, because that means I’d have to go back and watch each episode again, and this series is just so L O N G and so S L O W that it’d be like having a root canal on the installment plan.

It starts off like a sentimental summery romance/harem kind of thing, and then ventures into predictably confusing Shinto/magic stuff, but when they take two episodes off to warp back in time a thousand years, and then the main male character becomes a crow, all bets are off. Does the story end with weird Japanese metaphysics that explain…well…nothing at all? You bet! Does the main female character die at the end? Of course! And is everything left hanging? What, did you think it would resolve? You haven’t watched much anime` then!

Honestly, this series had enough of an interesting plot for really six episodes at the most. They had to break out the crazy junk because their plot, pacing, and characterization bit the big one. There’s a few profanities per episode, and occasional perv moments (quite a bit more in the last two episodes), but it’s the stupid Shinto themes that prove the most annoying.

Only watch this if you have nothing at else to do with your life. Welcome to the graveyard, Air.

Read Full Post »

Hope springs eternal, as does futility. Ever since To Heart and To Heart: Remember My Memories, I’ve held out hope for Aquaplus. Those series were landmarks in the history of anime`. Since then I’ve viewed with a skeptical eye anything that they’ve done, because of such sucky series as ef. Anyhow, White Album is another Aquaplus offering and while it doesn’t completely suck, it’s not really worth watching, either.

The problem is that the main character, Fujita, is generally an immoral man-whore who just floats from one attractive female to the next, regardless of the consequences that his actions engender. He has no real concern for the girl he supposedly loves, either. This makes the series difficult to appreciate, as you’re left hoping (in vain) that he’ll get his head screwed on straight. After ten episodes, he hasn’t, so I doubt he ever will. (Ten episodes? Yeah, I’m a patient guy.)

It’s really the plot, moving things forward a steady pace, like the ache of an old wound, that keeps whatever interest the series deserves, alive. Other supporting reasons are the insight into Japan’s idol world, and the ending song, which is more emotional than the entire series. That’s another strange thing about this — there’s no real emotional content to speak of. There’s one episode and that’s it. The rest of the time, the series bumbles about underneath a damp and suffocating blanket of sentimentality. Anyhow, here’s the short review.

Ep 1 — Good. Looks promising. Emotional at the edge of being too much. Real characters. The first scene is a winner.
Ep 2 — Ok. Some profanities, one stupid risque dialog (very short) though. Feels like it’s going to be a harem kind of thing. The ending theme and animation really grows on you.
Ep 3 — Ok. The plot thickens. Some weird risque text at the beginning makes you think that trash is on the way, but it’s not. I honestly have no idea about the idol world of Japan, so what’s happening here doesn’t make much sense. I mean, why did Fujita-kun get fired? Because he waved to Rina? I guess…The characters seem to be basically either leading others on or seeing what they can get away with, which is a bummer. You keep waiting to see if they will turn out good or what the reason is for them acting the way they do.
Ep 4 — Ambivalent. More romantic, but what happens at the end? What I mean is what happens what I think happens? One profanity.
* Ep 5 — Very good. What the idol co. is doing to Fujita is heart-rending. Complex.
Ep 6 — Ok. I think this will take 2 years to play out! Has the feel of a collegic soap opera. Finally some consequences for Fujita’s lying.
Ep 7 — Ok, still more torturously-slow unfurling, but some interesting bit about Haraku, and Fuji’s tutoring subject is revealed. Two profanities.
Ep 8 — Ehh. I guess it was inevitable, for Fuji to succumb to Yaso’s charms. The cruelty here directed against Fuji, for no real reason, is something profoundly evil. More complexity for the sake of complexity. It’s odd how this series has few real emotional moments.
Ep 9 — Eeh. It’s more of the same anime` we’ve seen before — things are revealed without any sort of foreshadowing. The whole thing about Miksaki’s play just rings hollow because we were never told about it until the freaking last minute. And Fuji declaring his love for her — why would he? I just don’t get that. It’s kind of unbelievable. There’s no risque junk, a few profanities, but it’s just unbelievable. It really sticks in my craw because the series tries to be deep and serious, referencing Conan Doyle, Robert Browning, and Greek mythology, only to end up with something that’s nowhere close in terms of epic scope, heroic characters, or emotions.
Ep 10 — Wha-a? Apparently there’s something bad coming, but why do we have to wait and wait for some emotional payoff that never comes? I’m tired of waiting after ten episodes.

Welcome to the graveyard, White Album.

Read Full Post »

Saiunkoku Monogatari (Season II) (official site) is the story of Shurrei, adolescent head of one the land’s powerful ruling families. She is the governor of one particular section of the country. The series revolves around feudal Japanese-esque court intrigue, Shurrei’s life goals, and whether she loves Ryuuki or not. She is a workaholic and oblivious to the men around her. Towards the end, the series shifts its attention to Ryuuki and how he grows into the role of Emperor. If I had to class this, I’d say it falls in the shoujo camp, but the historical accuracy, humor, and subplots that crop up keep it fresh and interesting. Bonus: the opening theme is better than average, and the ending theme (“Asu he” by Teruya Miho) is breathtakingly beautiful.

There aren’t any positive references to God or intimations of Christianity here, although there are some areas of common grace touched upon. Most of the characters are generally moral. Praise of a central government crops up from time to time which proves annoying, but it stops just short of a liberal position. Rare profanities, even rarer risque` bits. The music ranges all over the map, from just short of heartbreaking to poor and is often either orchestral or traditional Japanese pastoral music. There’s usually a fair amount of humor, however, the pace tends to be drawn out.

The characterization and music quality are higher in the first half of this series than in the second half. It suffers from the usual anime` sag (where the middle episodes are less polished than the early and ending episodes), though not to the extreme as Toradora did. It’s more like the sheen disappears.

Episode 1 — Good +. Strong music; a small recap of the emperor’s relationship with Shurrei, and a whirlwind tour of Shurrei’s many relationships. Pretty funny.

* Episode 2 — Very good. Eigetsu, the co-governor of Sasshu with Shurrei, relates his history and we learn about Doushu-sama. Shurrei’s work with getting a research facility comes to the fore. Good music and towards the end, doomy and tragic.

* Episode 3 — Very good. Intro Ryuuren. A good blend of humor, sturm-und-drang, and doom. Just the right amount of plot complexity.

Episode 4 — Almost very good. The relationships between the characters are well-done –intriguing and humorous. Not too emotional; good music; ends with a cliff-hanger.

* Episode 5 — Very good. Tense. A crushing scene between Eigetsu and Kourrin, which is one of the reasons why the series is good — Eigetsu’s doomed state, yet his desire to live life to the highest good that he knows, Kourin’s fatal love for him, and Dousha’s nearly Christian outlook. An effective ending.

* Episode 6 — Very good, and even more tense than last time. The emotional landscape is not sorrowful, but just that of being placed between a vise and being squeezed. Some humor, but not enough to dispel the atmosphere.

* Episode 7 — Very good. No great sorrows or romance, but a tight plot, just the right amount of complexity, people working together to achieve great things. A fantastic episode, just shy of being excellent.

* Episode 8 — Excellent. You feel a deep twining with Shurrei and want to see her succeed against the odds. The plot is never slow and never too hard to follow; emotions suffuse every scene, from raw courage to longing to sorrow at parting. Quality music as well. This is a high point of the series and the episode by which all others should be judged.

Episode 9 — Very good. Another tense one, with more info about Eigetsu’s past. Kinda freaky in places. Not terribly emotional, but worth watching all the same.

Episode 10 — Just shy of very good. The plot threads are being brought together tightly, and you can feel the magnitude of what they’re trying to achieve, with the distinct possibility that it will come at great cost. One profanity. One of the strengths of the early episodes is that Shurrei’s dad does the narration that stitches together the plot. This device helps explain what’s going on and when it’s abandoned, it’s harder to follow. The emphasis on solidarity of mankind is a cool theme here. We get to see more of Korin, but not enough for my tastes. The ending is just cheezy though.

Episode 11 — Good. Some great parts; some lame parts. A touching scene with Shurran and her mother with some beautiful atmospheric piano music. A stupid recap of the ending of the previous episode, which goes on for nearly three minutes. The scene where Shurran stops the crowd of murderous men is shot-through with emotion. Some stupid preachment about how giving birth means that you’re unwilling to kill if necessary — never mind that some of the coldest murderers in history have been women (remember Andrea Yates?).

* Episode 12 — Excellent. Very serious; heavy, reflected by the somber Classical string music. The scene with the villager woman and her suffering child might bring tears to your eyes. Courage in the face of a difficult situation is on display, and it is heartwarming. Two profanities. This episode radiates courage; it’s inspiring. A positive reference to prayer as well.

Episode 13 — Good. It’s interesting, but lower-key. It’s like the pieces are being moved into place, though there is an emotional scene with Yougetsu. It’s a cool scene when Shurran finds Kourin, too. The ending is piercing.

Episode 14 — OK. Some touching scenes with Kourin, but too slow and overdramatic in places. A handful of profanities. Two minutes or so spent on recaps.

Episode 15 — OK. Takes too long to unwind, although there are some cute and/or emotional parts. It’s just not as consistent throughout, like say episode 12. Some parts are boring. Some profanities.

Episode 16 — Good. It’s interesting, but lower key than usual. High point is Eigetsu’s return. A few moments of humor, but it’s another “moving the pieces into position” episode. Two profanities.

* Episode 17 — Very good. The pace is slice-of-life, but it’s not boring. More than a few touching scenes, but they’re real and not sappy. A rare look at Shurrei’s emotions. I think this is the ending of the first half of the season.

Episode 18 — Unnecessary. Recaps season II thus far. Skip it.

Episode 19 — Poor. Dumb risque` junk.

Episode 20 — Poor. Dumb risque` junk.

Episode 21 — Decent. Some humor; plays out like a detective story, so most of the time you’re scratching your head. A few profanities.

* Episode 22 — Very good. Humor, plot threads coming together, drama, emotions, and even a hint of romance between Shurrei and the emperor. As is typical for this series, the number of characters and their interrelationships is complicated and perhaps something that the male mind just isn’t cut out for. So us guys may have to watch it a few times to get it all. One cuss word.

Episode 23 — Average. Some dumb risque` stuff, Tan-tan as a moral relativist, and really not much else of note.

Episode 24 — Average. Pretty much a clone of the last episode, though we learn more about Tan-tan. The music sucks.

Episode 25 — Good; a return to form. Emotions are present, and the plot thickens.

Episode 26 — OK. Nice plot twists. Not too emotional.

Episode 27 — Average. Another recap episode, with about two minutes of new character development.

Episode 28 — OK. A few profanities. Just kinda there, although Jysuumie seems to be an interesting character.

Episode 29 — Fair. Some emotions, but the complexity makes it hard to relate to.

Episode 30 — Poor. Some cool freaky harp music; one profanity. Some tension, but Seiga is obnoxious. In fact, Seiga nearly rapes Shurrei. This is treated not with the seriousness that it deserves.

Episode 31 — Decent. Two profanities. Even after seeing it multiple times, it still doesn’t make sense, though. Some freaky music featuring echoing bells.

Episode 32 — A pretty good episode. Two profanities. Some of the plot threads are tied together and emotions are present.

Episode 33 — Decent. Low-key, but it takes a turn towards the Romantic towards the end. Emotions have been missing lately from this series.

Episode 34 — Confusing. We catch some of Shurrei’s emotions, but these are still not really explained. Sure, she’s sad that the Emperor has someone to talk to besides her, but why doesn’t she admit how she feels about him? She’s been pushing him away for 34 episodes and all of season one!

Episode 35 — Confusing, but a few interesting parts. One part where the Emperor and Jyusamie catch each other dreaming, both mistaking one another for someone that they love. Jyusamie makes a good point that loving someone doesn’t make you happy. That’s an interesting observation, and one that actually undergirds the entire series. The Emperor isn’t happy; Ran Shogun isn’t happy; Shurrei’s father isn’t happy; Jyusamie’s not happy. Suushi isn’t happy. Jin sure isn’t happy. It seems that the only people who are happy are those who don’t let themselves fall in love.

Episode 36 — Good. Finally an episode that makes sense the first time through. This provides a thorough summarization of the Emperor and Shuurei’s relationship up until now. It covers a lot of scenes from the first series, which I haven’t seen and aren’t available in torrents anymore.

Episode 37 — Good +. Quite a bit of emotion. Two profanities. Plot threads are tied together.

* Episode 38 — Somewhere between good and very good. Another one that makes sense; this ties up some plot threads convincingly and has an overall feel of charming sweetness. No profanities.

* Episode 39 — End of season two. Very good, but not perfect. Everything wraps up, but it does so so quickly that you’re left wondering, “Why did they make us wait all this time?” Finally the Emperor tells Shuurei how he feels. I feel a bit jerked around, here, because after all this time, he’s still pursuing her with just about no encouragement from her part. His words ring true — he’s the only one who could love her (Shurrei) and she doesn’t even recognize it.

For your downloading pleasure (English subs):
Animanda or C1

Read Full Post »

Older Posts »