Category: Anime

After this past year’s horrific fire at Kyoto Animation, I found myself looking at all the animated series that Kyoto Animation had done in the past, and found that I had seen so very few of them, and that they were also all on my to-watch list well before the fire. The body of work of the studio was at a level that I’d compare to GAINAX at their prime. So, having read the first volume of Miss Kobayashi’s Dragon Maid a couple jobs ago, while I was working in Downtown Portland, I decided to bump that show up on the list. Also, as a part of the weekly anime viewing nights I’d started with my parents after I got my Dad into anime, I decided to add that show to the rotation, sight unseen. The results were favorable, with an asterisk.

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At Kumoricon 2019, I had the good fortune of getting into a screening of the anime film Penguin Highway. It is an anime film of a variety that doesn’t come out in the US very much – an anime film that is a straight-up family adventure film, and a film that also plays into some of the Kids on Bikes concepts that came up in a few works I’ve reviewed recently (The Gate and Tales from the Loop).

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Key Art banner for season one of "What the Hell Are You Doing Here, Teacher?"

When it comes to concepts related to fanservice in anime, there are some that are very hard to do well. One of them, probably the biggest one of them, is what I call “Sexual Slapstick.” It’s someone walking into a room and seeing someone undressing, or tripping and falling and copping a feel (or seeing something they shouldn’t. They’re all based around acts that are gross, which means it can be hard to make funny. Season one of We Never Learn did it and What the Hell Are You Doing Here, Teacher? also manages to actually pull it off.

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From Left - Ultra Seven, Ultraman, and Ultraman Ace from Season 1 of Ultraman

This past year or so we had a fair number of anime series paying tribute to classic Tokusatsu series from Tsuburya Productions. The most high profile of these was S.S.S.S. Gridman, with Netflix’s Ultraman Season 1 (adapting the manga) coming out earlier, and flying under the radar. There are a few reasons for that – Gridman had Trigger’s rep going for it, instead of being a totally CG anime series, and was released in English in a more conventional manner instead of the Netflix binge model. As far as how much each of those contributed – well, I can’t get into specifics without delving into Steiner Math (which I flunked in college). That said, the show is still fun, and worth your time.

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Waver Velvet (Lord El-Melloi) reacting in shock and pain

Lord El-Melloi II is a mystery series that breaks from the conventions of the genre. Specifically, the convention of using the question of “Howdunit” to determine “Whodunit”. When urban fantasy normally sets into this territory, you see writers structure out their magic system to fit within this magical structure. Lord El-Melloi II, on the other hand, tosses convention out on its head and decides to play Calvinball instead.

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Promotional art for Lupin the Third Part IV

Lupin the Third is a character who refuses to be tied down. Like Tom Servo, he’s like the wind, baby. His various earlier anime series and films have set him up as a consummate flirt and womanizer, and his adventures have spanned the globe. Lupin the Third Part IV upends that status quo immediately in both respects. In the second, Lupin’s adventures in this series are generally limited to Italy. In the first case, the series opens with Lupin getting married, and not to Fujiko Mine.

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Still from the first episode of O Maidens in Your Savage Season

Occasionally, I watch an anime series that I feel utterly unqualified to review. Sometimes it’s something like Angel’s Egg, where I can clearly feel the concepts flying over my head and ruffling my hair – where I can tell what I’m seeing is art, but I lack the vocabulary to properly expand on the concept. In the case of O Maidens in Your Savage Season, it’s life experiences.

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When I was in High School, Fruits Basket came out in the US and it was a phenomenon. the manga was the flagship of Tokyopop’s unflipped manga (or “100% Authentic Manga”) initiative, and its success led to the majority of manga in the US being published unflipped, and also cemented a longstanding partnership between Tokyopop and Borders which lasted until both went bankrupt – all of that fueled as well by the success of the anime. Now, about 18 years later, long enough for the high school kids who grew up on FuruBa to have kids of their own, there is a new anime adaptation of Fruits Basket, with the first season airing this year.

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A while back, when I had started my fanzine with the intent of getting established science fiction fans, in particular, those who read fanzines (a demographic that is generally more likely to vote and nominate in the Hugos), to watch and nominate speculative fiction anime – I started with a list.  I gave a list of anime series that had come out since the turn of the millennium which I thought literary speculative fiction fans would enjoy. Among them was Bodacious Space Pirates, a science fiction anime which I felt took the sense of adventure and wonder that was a fixture of ‘50s and ’60s YA Space Adventure science fiction, kept that, and dropped the obsolete political and social views that fill so many works of that period. Astra: Lost in Space is the next anime that tries this and pulls it off spectacularly.

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From Left, Hachi and Robby.

RobiHachi is a very different show than most of the anime series I’ve seen – particularly those about travel. Most anime series that are about travel and tourism that I’ve seen tend to be chill slice of life comedies, like Laid Back Camp. RobiHachi, on the other hand, is a very silly, wacky, over-the-top comedy – though one with some thematic elements in common with those other series.

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The three female leads of We Never Learn

A lot of fanservice anime tends to be gross. Maybe it’s because the fanservice comes through sexual slapstick of the “Whoops I fell and groped you or looked up your skirt” variety. Or it comes through battle damage of the “Female character gets their top shredded in combat and now their boobs are hanging out” variety. Or it’s of the “Male lead openly sexually harasses female characters variety.” Perhaps that’s why the fanservice that comes up in We Never Learn feels like a breath of fresh air.

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Well, you’ve just finished watching Evangelion on Netflix, and you’re wondering what to watch after this. I have a few recommendations here for you. The video is fairly spoiler-light so if you’re making your way through the show now, you should be fine.

Lists of all the works I recommend below the cut/further down, with affiliate links for Amazon and RighStuf (through ShareASale), and streaming links, where available. Buying anything through affiliate links helps to support the show.

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There are works of anime and manga which view feudal Japan with a less than critical eye. Dororo is not one of those works. The original manga by Osamu Tezuka was a work that, while more than a little cartoonish (as this was ’60s Tezuka), looked on the realities of Japan leading into the Warring States period with a critical eye. The 2019 anime adaptation of the work keeps a similar appraisal of the period.

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Japanese box art for Space Runaway Ideon

Yoshiyuki Tomino has something of a reputation as an anime director, for multiple reasons. Tomino has a reputation for being full of himself. His interviews about Brainpowerd in Animerica magazine demonstrate this. Anyone who has gone to an anime con and asked a Japanese guest who worked with him for a “Tomino story” can attest to this. Tomino also has a reputation for his absolute ruthlessness for killing off characters in his work. The normal examples of this are Zeta Gundam, the last half of ZZ Gundam, and Char’s Counterattack. However, the work that started Tomino down this road was Space Runaway Ideon. (Pronounced E-day-on).

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Gameplay of Tamamo no Mai from Fate/Extella: The Umbral Star

One of my guilty pleasures is the Dynasty Warriors games. They’re fun, engaging, somewhat mindless hack-and-slash games. However, they are not without their faults. There comes a point where you’ve put the Yellow Turban Rebellion down enough times that you just can’t play through it anymore. Thus the appeal of the other takes on the concept from within Koei and without. Such is the case with Fate/Extella: The Umbral Star.

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