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!
In a turn of events that will certainly rock the anime community, Disney+ is now jumping into the anime streaming market. Depending on who you are, this either results in feelings of utter despair or perhaps a simple “oh, cool.” I’m more in the latter camp.
I suppose it was only natural. Star Wars Visions was an anime anthology the likes of which we haven’t witnessed since Batman: Gotham Knights or The Animatrix. In my review on Whoa! Anime, I likened it to a rekindling of my passion for this franchise. It covered such a wide array of styles from some of the most notable studios in the world. Disney taking an interest in anime should have been obvious.
They’re already attached to Studio Ghibli, the films of which lit up my childhood with unmatched whimsy. Why shouldn’t I have predicted this? I honestly can’t say. All I know is that it’s happening now, and a lot of people I know are probably going to complain about it. And I’m not here to say they’ll be wrong. I just think it’s literally too early to tell.
So what shows are Disney bringing to their platform, and what do their choices indicate as to the kinds of tastes they wish to corner?
I’ve spoken about my thoughts on LGBT anime in the past. I’ve grappled with my thoughts on how homosexuality is portrayed in Japan and my feelings with shows that I’ve loved in the past that had queer-coded elements or queer-baiting. But in the last year especially, I’ve started to look on the brighter side of things. I’ve started to appreciate what my earliest exposures to queerness in anime gave me, regardless of any flaws.
Representation can only get better with time and with more diversity in the room when stories are being crafted. With studios like Blue Lynx producing higher quality gay cinema, gay representation in anime reaching new heights. And after delaying it for FAR too long, I’m happy to say that Studio Hibari’s The Stranger by the Shore is the best gay romance I’ve seen yet, but for very particular reasons…
Hey everyone! This blog has seen huge growth over the last year and I couldn’t be happier to have people reading what I write. I’m so inspired by this growth that I’m branching out and writing about far more than just anime. I want to analyze film and television and even books when something interests me. And I don’t want to overhaul this whole blog, so instead I just made a new blog.
It’s called Sakura Shuffle!
And since visual novels are pretty tangential to anime, I figured my newest post would be a fine pitch to get y’all interested in my new site. Here is a review of the 2012 VN from Nitro+, Guilty Crown: Lost Christmas.
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.
The only thing more annoying than stupidly long light novel titles is unnecessarily wordy Fate titles. I bet it’s half the reason this franchise seems so alienating to newcomers. With so many spinoffs, the franchise never seems to have an easily identifiable starting point. Even the ones that are generally agreed to be the essentials are criticized for not being flawless adaptations of the original visual novels.
Nothing has quite been more perplexing in the series’ tenure than Fate/Grand Order, the mobile game which has spawned numerous animated adaptations of varying quality. I reviewed F/GO Babylonia last year, praising it as one of the most visually impressive shows in years, though its story had problems.
As I understand it, F/GO‘s story in the mobile game has been… iffy. Some early arcs are abysmal, the later ones get better, and there are some stories that flat-out retcon established lore of the universe. Needless to say, fans of Garden of Sinners or Tsukihime, which traditionally take place in Fate‘s universe, have been left wanting by the direction of the brand.
When it comes to animation, the producers of these adaptations seem to cherry-pick which arcs to animate, and different studios try their hand at bringing these stories to life. Babylonia, the first huge adaptation, skipped straight to the last “singularity” of Fate/Grand Order‘s first arc. This week’s review is of a film set before that TV series.
Fate/Grand Order THE MOVIE Divine Realm of the Round Table: Camelot – Wandering; Agateram… Over a full line for just the title… I’m not mad I’m just disappointed. BUT! As for the movie itself, I’m the furthest thing from disappointed. I really enjoyed this film, which is baffling because apparently some diehard fans of F/GO really don’t. Why?
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.
And then, Crow from Crow’s World of Anime jumped on the bandwagon and I figured, “why not? This looks fun.”
I mean, sometimes I feel like I’m too positive about shows and don’t write enough negative reviews. What kind of garbage is that?! I shouldn’t look to hate things! And god willing, I do my very best to be optimistic about whatever I’m looking to watch for a review or analysis.
So I’m more than happy to try – however difficult it may be – to find the good in some of my lowest-rated things on MyAnimeList. For many that shared the same score, I had to try to determine which of the 3’s were bad enough to earn their spot on the list. Otherwise, I had to determine if a few of them truly qualified. Like, if it was some low-budget 10-minute ONA on YouTube that I thought was trash, should that be on there over a show or film I spent more time with?
After hopefully not too much overthinking, these are the five worst shows I’ve seen and the best things about 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.