Ever since 1967, Lupin the Third has been a staple of Japan’s animation culture and one of the most storied and recognizable icons in the international market’s perception of anime. Despite having persisted in so many different iterations by so many different teams, it was only in preparation for this very review that I watched a Lupin anime all the way through for the first.
Why? I’m not sure. It’s a certified classic, and it isn’t as though I couldn’t have gotten into Part IV or V, both of which aired within the last few years. Not to mention Sayo Yamamoto’s critically acclaimed series, The Woman Called Fujiko Mine. Yet it was a story set in the same continuity as that last series that truly caught my eye.
Takeshi Koike is insane. I say that lovingly as a man who loves his 2009 film Redline, which was famously in production for seven years. Koike is a frenetic and wildly imaginative director and when he has the freedom to direct and do character designs, his style treads this line of adult maturity and wild cartoonish exaggeration so well it becomes a dimension all its own. So when I asked myself “where the hell has he been lately?” I was pleased to find the answer in the form of Lupin.
From Telecom Animation Film and TMS Entertainment, this is Takeshi Koike’s Lupin the Third, a bold vision of a beloved classic that just so happens to be my first true entry into this series.
The anime community is wide, varied, and growing all the time. Every couple of years a significant tentpole anime comes out that brings in a whole new crop of fans to the medium, whether simply to visit or make a more permanent stay within its bizarre and inviting lodgings.
And yet for as diverse as anime’s following may be as, you know, a medium, people are quick to resort to mob mentality and pretend as if the community can be divided evenly into two halves, or worse, that the “other” is so minuscule as to not even really be worth mentioning.
But if that were all that was needed to be said, I wouldn’t just be oversimplifying anime discourse. In all likelihood, I’d be oversimplifying humanity. No, anime is no stranger to controversy. Just as frequently as a new tentpole anime comes out to bring in new people, some shows kick all kinds of hornet nests.
[TRIGGER WARNING: The following post contains analysis of sexual assaults and other topics related to sexual violence depicted or hinted at in the shows that will be discussed.]
It’s Women’s History Month and since yesterday at the time of posting was International Women’s Day, I figured I’d write a little something for the occasion that’s been on my mind for a while.
I get the impression that there is an idea shared among some anime watchers. That feminism – and particularly being a feminist – clashes with being an anime fan. But why? Is it the boobs? It’s the boobs, isn’t it? I mean, it would make sense. After all, sexualization is one of the elements of anime that – for better or worse – comes to mind first when describing it as a medium. We all seem to get it.
So naturally, some people don’t like anime for those reasons. And just as naturally, there are defenders of anime who will draw a fine line between those pesky feminists and all the “real” anime watchers out there. The two groups seem contradictory to one another. How on earth can a feminist be a true anime fan?! Well, joking aside, I am here to reveal to you the truth of watching anime as a feminist.
And the truth is, it ain’t that different from watching anime normally…
Imagine: It’s 2013. You’re Tetsurou Araki, the famed director behind Death Note and Highschool of the Dead. Now, you and WIT Studio, the offspring of Production I.G., have blown the minds of anime fans new and old with an adaptation of Hajime Isayama’s manga, Attack on Titan.
The problem: You adapted too much of what was already written and there’s not nearly enough content to make a second season immediately. People are frothing at the mouth for more and you want to give it to them. That’s when a script by Ichirou Ookouchi and Hiroshi Seko catches your eye.
It’s similar to Attack on Titan, but only on the most surface level. It’s about humans surviving in walled cities against a horde of monsters with a specific weak spot. However, the setting, technology, aesthetic, and philosophy behind the action are a beast of their own. There’s something here. An opportunity to do what Attack on Titan did, with the same people, unconstrained by the wait for source material.
From director Tetsurou Araki and WIT Studio, with music by Hiroyuki Sawano, this is Kabaneri of the Iron Fortress, the anime that was meant to surpass Attack on Titan.
Back in May, I reviewed Given and concluded that it was precisely the kind of fun that I needed in my life. It was also a sign of more normalized, modestly budgeted LGBT anime on the horizon. And if the fancy title card for publishing company Blue Lynx at the beginning of Given‘s movie was any indication, they’re getting bigger and bigger.
I don’t think this will be a very long review primarily because this wasn’t a particularly long movie. I wouldn’t even bother calling it a movie. It was was more of an OVA. The budget didn’t necessarily increase. The CGI during performance scenes wasn’t great but wasn’t terrible either. This was more of what I liked and for a casual viewing on a Saturday night, I wasn’t disappointed.
The following is my review of The Millionaire Detective that I wrote back in October. If you like what you read and are interested in reading more by the AQ crew and me, be sure to bookmark AnimeQuarterly.com and make it your next frequent stop for anime news and reviews, Also, help us grow by supporting us on Patreon.
How many shows have you passed on because you figured they “weren’t worth your time?” What were the factors that contributed to that impression? Was it a lack of interesting marketing? Was it the style? Or did you buy into the narrative being thrown around that a show was “trashy”?
In 2015, I watched YouTuber Demolition D+’s video on the Spring 2015 anime season and delighted in his humorous appraisal of that quarter’s entertainment. The headliner for the video was Is It Okay to Try to Pick Up Girls in a Dungeon?, or, DanMachi as it would come to be abridged. Demo called it an SAO clone and I didn’t so much as bat an eye because I was laughing so much.
But then the second season aired in 2019 and friends who watched it told me about the show’s world and how it was actually pretty fun and that I should give it a chance. By this point, I’d already accepted that SAO wasn’t as bad as we all thought it was, so who was I to turn down an opportunity to prove my misconceptions wrong.
After watching all three seasons of DanMachi, not only am I shocked as to how anyone could have compared this to SAO beyond the leads sharing the same VA, Yoshitsugu Matsuoka. The art styles aren’t even that similar. More than anything, I’m angry that I didn’t watch this sooner.
The following is my review of Cases 1 through 3 of The Great Pretender that I wrote for Anime Quarterly back in September. If you like what you read and are interested in reading more by the AQ crew and me, be sure to bookmark AnimeQuarterly.com and make it your next frequent stop for anime news and reviews. Also, help us grow by supporting us on Patreon.
My heart has belonged to Kyoto Animation for a long time. And their shows have always looked good – that’s not even a faintly nuanced observation. The 2010s was the advent of an in-house style that helped forge their identity without ever feeling like a stagnant or limiting trait of the production house. Be it the character work by Miku Kadowaki, Futoshi Nishiya, or others, the character art is something that hasn’t quite been matched by another studio.
Even before their in-house style became synonymous with their identity, their artwork was rarely a sore spot in the final product. However, how well do we regard the actual “animation” of Kyo Ani’s works?
Pretty well as a matter of fact. Consistently. From Liz and the Blue Bird to Silent Voice, I’ve praised the subtle character movements and facial twitches that create the small reveries of human pathos. Occasionally, these dramas or slice-of-life comedies might even present an action scene. Kobayashi’s Dragon Maid had ridiculously bombastic action and even Clannad had a pretty dope fight scene. However, I get the feeling that when people say that Kyoto Animation has great animation, they actually mean “great artwork.” It’s worth distinguishing between the two.
I don’t think any show from the studio has consistently reminded me of how great their animation talent is more than one particular show. If you would permit the generalization, the average viewer may not stray close to offering a critique of actual animation outside of shows or genres that incentivize consistent motion in their presentation. Hence why most people, regardless of their inclination to media criticism, often praise the animation of the hottest shonen/action series.
Following that line of logic, this week’s review is an action show with plenty to gush over. Beyond the Boundary – Taichi Ishidate’s directorial debut – is one of my favorite works by Kyoto Animation, and what I believe to be their best-looking show. Or rather, it is the most consistently upfront with what the studio is capable of, both in TV and film.
As frequent readers know, in addition to running this blog, I am the Associate Editor of Anime Quarterly, a new site that just started back in July. There’s been some pretty cool stuff written over there and to round out 2020, I want to highlight some of what we’ve got over there for you.
Recently updated on account of new updates, this timeline might be one of my most thoroughly researched pieces yet. In this post, I lay out the nine-year tale of Evangelion 3.0+1.0‘s production, from the tiniest updates to the most painful delays. The goal was to paint a picture of just how long the wait really felt for those who’ve been with it since the start. I also give my two cents on why I’m still in love with the Rebuilds despite the stumbles.
What started as a desire to rip apart a bad-looking show turned into a biting critique of Crunchyroll’s most ambitious endeavor yet. In this essay, I explore the project thus far, assess its fundamental goals, analyze its successes and failures as such, and then offer my thoughts on how Crunchyroll can improve.