Save for a rant-filled, canceled post from this past summer, I have never formally written on the topic of My Hero Academia. That might seem sacrilegious given my prior reputation as a Studio Bones devotee, but it never felt like there was anything to be said that hadn’t already been said.
It’s a super fun show given greater clout by its colorful cast and a uniquely relatable protagonist who goes through quite a lot of punishment to become the hero he wants to be. It has also been well-produced, taking year-long breaks in-between seasons to ensure a sustainable level of quality between arcs.
After a somewhat underwhelming third season (to me at least), the fourth season has been stellar so far, and high on hype from the last arc, I think everyone had high expectations for the new film, Heroes Rising. And to make a great year even better, those expectations were most certainly met.
While not necessarily in vogue among anime critics lately, it isn’t hard to find rankings of very specific subjects within the community. “Top 10 Strongest Anime Characters”, “Top Ten Anime Villains”, “Top Ten Anime Couples”, etc. And of course, who could forget the perpetually memed “Top Ten Anime Betrayals,” which I don’t think I’ve ever seen created unironically.
However, while overdone, it has never felt like the kind of thing that anime critics do begrudgingly out of some unspoken tax as per the job. After all, anime has a lot of cool shit and fights are no exception. It’s only obligatory so far as such a thing is relatively easy to create and an ample excuse to ramble about things we like. That’s half the reason people like me become critics anyway.
So in no particular ranked order, here are a few my favorite anime fight scenes.
In 2018, a new trilogy of films set in the Psycho-Pass universe was announced for a 2019 release date called Sinners of the System. The three short films, each about an hour in length, take place at various points throughout the timeline. It would be the first new entry in the series in about four years. In the same year, a third season would be announced and released in the fall.
Psycho-Pass was back, with original director Naoyoshi Shiotani’s involvement being a major selling point. They wanted us to know that the series was returning in good hands. Even so, with such a long delay and the second season still a sore spot for many fans who felt the film didn’t make up for it, how well would this new phase fare?
I have tried to watch Soul Eater on four different occasions and the farthest I’ve gotten is episode four. When I tell my friends this, they are surprised (for good reason). I have long been a huge fan of the works of Studio Bones, with two of my three favorite shows of all time having been made by them. I’m also a huge fan of sakuga and consider it to be one of the coolest things about watching anime. Most importantly, Takuya Igarashi is one of my favorite directors of all time.
That I was unable to get into a show applicable to all three above qualities is entirely explainable but still a head-scratcher. Especially if you’ve read any of my posts on Studio Bones in the past, it seems like a show I would love. The short of it was that the writing and characters did nothing to draw me into the show and I was somewhat bored.
But when I saw the trailers for David Production’s adaptation of Fire Force – another work from Soul Eater author Atsushi Okubo – I got excited. The artwork and music conveyed a darker tone and got me thinking that a different kind of story by the same creator might be more to my liking. Hell, it already looked like a show by Bones anyway and David Productions has been growing steadily thanks to stuff like Jojo’s Bizarre Adventure. Fire Force quickly became my most anticipated show of the summer.
Now, as Fire Force‘s first season nears the midway point, I’m left a little underwhelmed. How did such a promising show fail to meet my expectations? More importantly, is it good enough to continue watching?
When you take an established property with a certain level of fame in the cultural gestalt and try to do it again, you are asking for criticism. Remakes have these nasty labels attached to them because in principal a worthwhile piece of art should be able to stand on its own. Why remake something when the old work still exists?
Apart from being a cash-grab, maybe to update art that is arguably out of date and hasn’t aged well. Better yet, perhaps the remake signifies an intention to take a work in another direction to use the original’s framing device in a new innovative way. Either way, it’s easy to divide people over a new vision. Too close to the original and it seems pointless, but too different and it could be seen as a betrayal.
But what happens when the same mind behind the original comes back to remake his work, albeit with new help? Hideaki Anno’s classic Neon Genesis Evangelion certainly gained fame over the years despite how infamous it was at the time. The psychological drama fueled by Anno’s anguish made it legendary and yet Anno felt there was more to be done.
Anno split off from Gainax and together with his underling, Kazuya Tsurumaki, he decided to “rebuild” Evangelion. These films have been praised and lambasted in equal measure over the years. Most often people find an issue with the lack of thoughtful psychological pathos that made NGE‘s characters so real despite the premise. You can find plenty who will praise the visuals of the rebuilds, but many who will argue it doesn’t make up for what is lost.
But is there nothing here of value? Are these films not without some quality that is superior to the originals? I like to think that isn’t the case and after finally watching them recently, I think there are plenty of reasons to fall in love with these films. With the fourth and presumably final film coming in 2020, now is the perfect time to ask, what did the rebuilds get right?
For a series that I wouldn’t hesitate to recommend to my friends, the first season of Bungo has a few more problems upon second glance. This happens a lot with good shows I feel. There is a first season that catches your attention with some elusive quality you can’t quite put your finger on. Next up, the sequels build on the formula, turning the show into something even grander than you first envisioned.
The real tricky part is getting people into it without over-hyping it purely on the grounds of how good it gets later on. I’m sure if I kept watching Breaking Bad season four I would love it, but I don’t wanna watch Skylar try to buy a God damn car wash for half a season. Where was I? Oh yeah, allow me to start by giving you an honest look at this show’s humble beginnings.
How in the hell did Attack on Titan Season Three, Part 2 become #2 on MyAnimeList’s all-time top anime list? I was already a little surprised when Your Name dropped to #6 after Hunter x Hunter 2011 (makes sense), another iteration of Gintama (meh), and Steins;Gate (how have I not watched this yet?). However, for Attack on Titan to take #2, particularly in its third season? Now that threw me for a loop.
Granted, I’m not pretending this list is the be all end all, as it is merely determining the best based on the average score given by the users who have rated it on their lists. None of these shows are perfect. Both Fullmetal Alchemist Brotherhood and Your Name are arguably overrated and flawed, even if I think they are great. However, this list does give a sense of the nature of certain show’s fanbase and the cultural discussion surrounding a work.
I’ve never seen Gintama, nor does it look that interesting, but for this show to consistently score this highly tells me that the fanbase must be one of the most committed ever. Likewise, Hunter x Hunter 2011 is one of the most highly scored Shonen’s out there. Steins;Gate to me is the equivalent of that popular Emmy nominated show everyone says to watch but that I’ll take years to sit down and enjoy. The list says a lot more than just which anime is the best.
As such, my goal today is not to argue whether or not Attack on Titan is deserving of this status, but to understand why the fanbase is reacting so strongly and now of all times. Especially because, to me, season three is the weakest of three admittedly solid seasons.
In my review of season one, I praised how ONE manages to make overpowered characters likable and their stories tense through sheer emotion. This story about self-betterment and the discussion permeating the spectacle made battles ones of ideology in addition to super-powered flair. With a sequel, how does one continue this discussion without becoming repetitive?
Sequels can often succumb to a temptation to be like their predecessors, but bigger and better. Doing something different, even radically so, can be remembered better, but it is far more risky. That being said, you don’t have to be radical in order to make the sequel interesting in new ways. Sometimes it simply requires a change in focus.
The most shocking twist RWBY has delivered is that volume four was actually good. It only took a lesser product to make me appreciate what I had. When volume five started airing, my excitement was dwindling. Over one divisive volume, I went from optimist to pessimist and was only giving this volume the grace period as a hope that the problems could be solved.
Rewatching volume five with a more balanced critique may have allowed me the same clarity that I went into my review of volume four with. Sadly, even the clairvoyance of one willing to forgive couldn’t excuse what volume five did wrong. Even amongst those who may have enjoyed this season, I can’t imagine that this is perceived as anything other than the worst of the series.
Well, after quite some time, it is the beginning of the end, and not in the cliched movie trailer sense, or in the cliched RWBY episode name sense. It is actually more comparable to that of a dying animal, not just because of the declining quality of the series but how this series of reviews is my least viewed on this blog. Regardless, I’ve committed to it and as such its time for me to finally finish this with a review of volume four and my final post on volume five to follow soon after.