There are some anime with a strong first half, and then which utterly shits the bed in the second half of the show. Yu-No, an anime series based off of an Eroge (and which had an earlier hentai adaptation back in the ’90s) is one of those shows.(more…)
For the past month or so I’ve been doing Let’s Play streams of Viewtiful Joe, a 2.5D character action game from Clover Studios. Now that I’ve beaten the game and the last edited installments have gone up, it’s time for me to give my thoughts on the game as a whole.(more…)
I enjoyed Laid Back Camp a lot. Between its informative depictions of going camping in Japan, it’s interesting travelogue sequences, and it’s generally chill tone, it ended up being one of my favorite anime, and one where I was kind of sad to see it end, and glad to see the show get a second season. After hearing that the manga had been getting an English release, I decided to check out the first volume of the manga.(more…)
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.(more…)
I first watched Mobile Suit Gundam: Stardust Memory when I was in High School, a little after 9/11. The story worked for me at that time, when all the Gundam I’d seen had been the Gundam compilation films and Char’s Counterattack. Since then I’ve seen considerably more Gundam (including Zeta Gundam) since then.(more…)
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.(more…)
If I was going to describe 20th Century Boys in a high concept manner to someone in an elevator, I’d describe it as It meets The Stand. It’s a story that takes place over a vast scope of time, almost 30-40 years, with multiple time skips, and an apocalypse in-between, with a fundamental premise of a group of childhood friends being forced to face a great evil as adults. The difference is, the evil in It is a clearly supernatural, unearthly evil. The evil in 20th Century Boys is very, very human.
There are some spoilers below the cut.(more…)
Over the past few years off and on, I’ve read the first 13 volumes of Oh! My Goddess, and I’ve written about them on various other places (including Bureau42), but never on my blog. Having finished the 13th volume of the manga, now is as good a time as any to give some general thoughts about the series.(more…)
Kirby games are generally conceived as kinder, gentler platformers. Not easy, but not punishingly hard either. Kirby Star Allies for the Nintendo Switch is no exception. While the narrative gets weirdly dark at times, the gameplay stays generally friendly.(more…)
Never has an anime been so perfect in its title as Laid Back Camp. This is a chill, relaxing, and also educational anime.(more…)
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.(more…)
There comes a point in any manga where the status quo, as it exists, can no longer stand. Where if things stay as they are, the work will stagnate. In Battle Angel Alita, it is in the leadup to the Motorball arc. In Hayate the Combat Butler, that arc is the Golden Week arc.
Adaptations of visual novels to anime are something of a mixed bag. Sometimes, like with Clannad and Comic Party, the adaptation is a hit. Other times, it doesn’t work quite so much. Fate/Stay Night falls into the former case, though there are times where the work stumbles in its execution, primarily on the animation front, though there are some narrative issues. (more…)
This week I have a Vlog style review of Hatsune Miku Project Diva F for the PS3. (more…)
Megazone 23 – Part 3 is probably the most Cyberpunk part of the Megazone 23 series. The other installments had artificial intelligences and rebelling against the man. However, Part 3 has more hacking, human cybernetic augmentation, and dealing with human society’s relationship with the planet. It’s also the weakest part of the series. (more…)
After the original The Yakuza Papers came out and did incredibly well at the box office, a sequel came out with a relatively fast turnaround. Unlike the first film, the sequel, Deadly Fight in Hiroshima, bypasses Bunta Sugawara’s character, Shozo Hirono (who does appear in this film as a cameo appearance), for a new character, and new story of induction into the world of the Yakuza.
My rating: 4 of 5 stars
This is a kind of slow-paced manga. This volume does a lot of world-building with regards to Terran society and Mu society, as well as our two leads views of their respective societies, Jomy Marcus Shin for the Mu, and Keith Anyan for the Terrans. (Cont. below the Cut) (more…)
I saw Battleship earlier today, and figured I might as well give my thoughts on it.
Movies set in historical periods or otherwise based around historical events will never go away. We will always have Victorian tales of class-based angst. Same with tales of valorious (or conniving) knights in medieval Europe. For Eastern cinema, we’ll probably always have samurai films of various stripes, and the same with various Wuxia films, discussing various martial artists and their exploits in Imperial China.
To get try and some background on wuxia films and their I recently read The Chronicles of the Chinese Emperors by Ann Paludan. The book gives an overview of the reign of approximately every emperor in Chinese history that is considered to be “officially” an emperor. Officially is in air-quotes because the book appears to defer heavily to the official Imperial histories. (more…)
Red Hot Chili Samurai is a manga that feels like it’s not sure what it wants to be. The manga follows samurai Kokaku Sento as he fights various criminals in rural Japan during the Shogunate. Kokaku’s strength and weakness is his dependance on hot peppers, which he eats regularly, and which strengthen him, like Popeye.
Like Kenshin, Kokaku and his comrades, bespectacled Ento, ninja manservant Shou, and girly-girl of action (if that makes any sense) Ran refrain from killing at all times, even if by all rights it doesn’t make sense for them to do so. However, like Samurai Champloo, the series is filled with anachronisms. Ran is introduced wearing spike-heeled knee-high leather boots with stockings and garters under her kimono. Kokaku is also introduced to a young kid who invents the Polaroid camera, the squirt-gun (modeled after the Colt M1911A), and aerosol pepper spray. Additionally, Kokaku wears a distinctive tattoo, something that would have been taboo for a historical samurai.
With the various chapters in this volume, they all have a comedic tone. Even when Kokaku is infiltrating a brothel which is drugging the women with opium (and occasionally over-dosing them), and whose owners are responsible for several murders, the tone of the story tries to stay incredibly light. This leads to a cognitive dissonance, particularly when it comes to more serious subject matter. Hopefully later volumes will take things slightly more seriously, but this volume is simply average. It’s not great, not terrible, just average.
In the anime portions of Gainax‘s OVA series Otaku No Video, there’s a sequence where the main character is being shown the various types of Otaku that the members of his friend’s club are part of. There’s the vehicle and mecha otaku, who is a geek about engines and how things work, and so on. One of the members of the club is an animation otaku, and he demonstrates his affinity for animation by pointing out the detail in an animated sequence (taken from the DaiCon IV video). I, personally, haven’t had many moments in animation where I felt compelled to freeze frame a video and stop to appreciate it – until I saw the OVA Area 88.
It’s been a while since I put a film review together, for something outside of a genre film for Bureau42. However, what better place to get back into the swing of things than the 1960s jidaigeki film Sword of Doom.
The film stars Tatsuya Nakadai as samurai Ryunosuke Tsukue, a sociopathic-at-best samurai, who cares for nothing but the improvement of his skill. The film follows Tsukue over the course of two years, as his violent tendencies slowly get the better of him .
The script does an excellent job of making it perfectly clear that while Tsukue is certainly the main character of the film, he is not a protagonist. Literally, the first thing he does in the film is to kill a defenseless old man in cold blood, and he proceeds through the film with a sense of clinical, cold detachment similar to later anime and manga characters like Duke Togo of Golgo 13 and Ogami Ittō of Lone Wolf and Cub, which likely took a certain degree of inspiration from novel this film was based on.
However, the sense of detachment is where the similarities end. While Ittō and Togo are certainly remorseless, compassionless killers, their opponents are often even more vile creatures then they are, to keep the audience on their side. On the other hand, as the film progresses, Tsukue never improves as a person. By the end of the film, guilt and fear have come to get the better of him, but even then they are unleashed in a psychotic episode comparable, in terms of violence, with the climax of Scarface. All of this is executed wonderfully by the writers and the director, as we see Tsukue’s sanity slip further, further and further.
The film is not without its faults. Originally intended as part of a trilogy, based on the absurdly long novel (about 1,533 chapters long) of the same approximate title as the film, several sub-plots are introduced that go just about nowhere. While they do intersect with the main plot in several points, they otherwise introduce what seem to be Chekov’s guns that turn out to be little more than display pieces. These side plots are significant enough that dramatically trimming them down could easily cut the film down from its current 2 hour run-time to closer to 90 minutes. These side plots could have been resolved in a sequel – however, we didn’t particularly get a sequel to this film.
All that said, the film is extremely well done, and a wonderful example of what this genre of cinema is capable of. If you consider yourself a fan of samurai films, you owe it to yourself to see this film.