Cowboy Bebop‘s cultural influences trace heavily to classic action cinema, be it Hollywood or Hong Kong, western or noir. And though most will remember Bebop for its martial arts and the Bruce Lee stylings that define the leading man, the gunplay in Bebop scratches quite the itch.
It’s not like there haven’t been tons of good gunfights in anime, even in recent years, but they often lose out to melee combat, be it realistic or stylized. There’s something about the gunplay in anime of the 90s and the early 2000s that feels distinct.
Plenty of shows feel hard to get into, but some only have such a barrier to entry because it’s not clear where to start. Maybe there are a few different adaptations, alternate continuities, and stories told out of order. If you’re lucky, you’ll have friends to guide you, or maybe a handy watch order guide.
While 2022’s Winter season rages on with much-anticipated sequels, I’m stuck between the years 2010 and 2014 reflecting on a piece of ecchi action many forgot about. From Tatsunoko Productions and director ryo-timo, this is Yozakura Quartet.
My Hero Academia is the only long-running Shonen anime that I have watched since its beginning and that I’ve kept up with since. Most other shonen are too long for me to get past the barrier to entry, so getting in on the ground floor was a great feeling. It helped that Bones was producing it and that its premise was so appealing.
80% of the world’s population has superpowers except for our protagonist? And we’re promised that – somehow, despite that – he will become the world’s greatest hero? It’s a great premise with a classic long-term promise of what’s to come. Funnily enough, despite that premise not being entirely accurate, it captured people’s attention in no time. By 2017, it was one of the biggest anime in the world.
… And for some reason I’ve never formally reviewed it until now. And with each passing season, the prospect of rewatching previous seasons to go over them seemed rather ambitious given my already inconsistent binging capabilities. So I had resigned myself to never reviewing the series. But now, five seasons and two movies strong, with the third film in theaters at the time of writing, I find myself tempted to say “screw it” and do it anyway.
So here is my review of all of My Hero Academia before the new movie comes out!
The Witcher 3: Wild Hunt is one of the best RPGs I’ve ever played. A rich yet depressive fantasy epic spanning multiple nations plagued by monsters and war. It’s a story about prejudice and choosing between greater and lesser evils. Amidst all of that, it remains a world that players couldn’t help but get lost in.
After the release of the live-action Witcher series on Netflix, the game saw a resurgence in interest from fans new and old. I should know, I was replaying it too. It was a quirky and often epic show that had its highs and lows, but despite it all, I loved it. News of new spinoffs and films were only natural, but was the franchise biting off more than it could chew?
If I had any concerns, they were minor, because Nightmare of the Wolf, the first of these spinoffs, was a film I highly anticipated. It came from Studio Mir, the studio behind Legend of Korra. Everything looked in place for this to be an enjoyable prequel centered around Vesemir, Geralt’s mentor.
And somehow, this film surpassed every expectation I had.
Seldom is a movie so addicting that I find myself rewatching it within a day. Even most good films hit the spot just right that I can give it at least a while before a second watch. But some movies, whether they’re short or just incredibly well-paced, get me coming back almost instantly. The kind of film varies, but they have something in common: spectacles that I can’t get out of my head.
Mobile Suit Gundam: Hathaway is one such movie. Director Shukou Murase, the man behind Gangsta, Ergo Proxy, and Genocidal Organ – among others – brings this story to life, from novel to film. It’s the first of a planned trilogy from Studio Sunrise, and it might just be the most gorgeous film to look at in 2021.
The more that time passes, the more that I look back fondly on 2018’s SSSS.GRIDMAN. At first, it was strange, but then again, a lot of the shows that I love are strange from the outset. Perhaps my threshold for weird is expanding but more likely, I just need something obtuse to keep me on my toes these days; something to truly surprise me.
Gridman was a show about Yuuta Hibiki, a boy with amnesia, finding himself embroiled in a mission to save his city from kaiju with the help of his friends. The catch was that every time the kaiju was defeated, the world was reset the next day. The buildings were rebuilt and anyone who died suddenly had their histories rewritten so that they died of unrelated causes. Only the main characters remembered anything.
There was a mystery. There was also a tangible sense of realism to the way characters talked, especially the high-school protagonists. In an interview with SakugaBlog, director Akira Amemiya confessed that schools were visited to collect data for the show’s production, yet there wasn’t much conscious thought put into making the dialogue more realistic. That almost makes it more impressive that it came off so natural.
CG robots and monsters were used to create a disparity between the character-driven story and the spectacle, similar to how miniature cities and actors in costumes are used in tokusatsu. The villain was complex and one of the best written I’ve seen in years. The reveals were shocking and the scale of the show ended up much larger than it first seemed. And little did we know all that would only be the beginning of a new universe.
From returning director Akira Amemiya and writer Keiichi Hasegawa comes the sequel to 2018’s SSSS.GRIDMAN, SSSS.DYNAZENON.
I won’t lie. I mean, I wouldn’t be a good critic if I ever did lie, but especially in this instance, I can’t pretend that I wasn’t worried. Season three took some bold leaps to make a story much bigger than just Dracula. For the most part, it paid off. But the finale was mixed. It could feel jarring, and not every story was particularly captivating.
Then came the official trailer for season four, along with the big reveal: this would be the last season. How in god’s name were they going to bring together all of the separate stories together into one 10-episode season? After watching it, it begs questioning why I ever doubted them.
Does the title seem too cynical? I mean, don’t get me wrong, I was absolutely delighted to hear that the new Demon Slayer did well at the box office. But then it kept doing well, and then it broke record after record at the Japanese box office. Now it’s in the US with a wide release by Funimation Films, this time with a big Sony logo emblazoned on the front (clearly the big companies are catching onto how much money anime makes). It also has an official R rating by the MPAA, whereas most limited anime releases stay unrated.
This film has the potential to do pretty damn well in the west and to stay in theaters for a while, at a time where it’s feeling safer to go to theaters, even if at half-capacity. It’s the continuation of a major hit series getting the proper cinematic treatment from Ufotable, a studio more than capable of producing hit films, with localization from a major film studio finally ready to attach its name to these anime releases. This could be huge.
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.
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.