It’s the end of Pride Month and I’ve somehow managed to waste another one not talking about any gay anime. Mostly because my review of Given went up like a week before June, just missing the cutoff. Because I haven’t seen any other gay anime since then, I’ve no choice but to review the second gayest thing: Fate/Grand Order.
Depending on your priorities, or patience, or standards, Fate/Grand Order is either one of the coolest or stupidest things. The highly successful mobile game based on the world created by Kinoko Nasu and Type-Moon is a multi-arc saga almost as dense in itself as the Fate Universe is normally.
An overabundance of adaptations, spanning novels, visual novels, and comics is nothing new. Alternate universes, alternate timelines, slice-of-life comedies, cooking shows – Fate has something for everyone. Much like there is no definitive Ghost in the Shell, there is no definitive Fate (huh, it’s almost poetic when you phrase it that way).
I love the world Kinoko Nasu created. Just read my review of Lord El Melloi II’s Case Files and you can tell how much the universe resonates with me. On the flip side, I’m not the biggest fan of Grand Order. I think it lacks the substance that made other stories like Fate/Stay Night, Zero, or Garden of Sinners so incredible.
The short version: Grand Order, to me, feels like Fate trying to be Doctor Who or some other show about time travel. It indulges in some of the franchise’s less commendable habits all while feeling like a vehicle for fan service. And the biggest surprise… is that I didn’t hate this show.
There’s something about a detective story that just immediately brings up a story’s score for me. Maybe it’s my childhood obsession with Batman or my fondness for men in long coats, or that time a Columbo-looking motherfucker brought my sister and me back home after we walked a little too far from home as kids.
Any story willing to abandon even one ounce of its seriousness for the sake of introducing some grandiose “brilliant detective” immediately earns style points in my book. And this week’s review is of a show that never ceases to hype up the brilliance of its detectives to the point of shameless self-aggrandizement.
Id: Invaded is a sci-fi mystery show from the studio that brought you DRAMAtical Murder and that one Pharrell Williams music video It Girl… I can’t believe I’m privileged enough to get to type that sentence. Having come out at the start of the year, it’s one of several cool-looking shows that lulled us into thinking the year would be “pretty alright.” Getting around to watching it now, I think it’s safe to say I shouldn’t be too disappointed that I didn’t hop on the bandwagon earlier.
HBO Max is the newest and hottest service to make us ponder the costs and benefits of paying for another streaming subscription, and boy I am excited. Not because I plan on buying it myself for the foreseeable future, but because I know a lot of other people will and HBO Max just so happens to have a fair selection of anime.
I’m excited about HBO Max’s anime selection for the same reason people are excited about some of DC’s content being on HBO Max. In the case of DC, many are happy that some of the better DC content recently such as Doom Patrol will possibly get more attention now that it is on a service that stands to be more popular than DC’s service, DC Universe.
Of course, I say this right after DC up and took some of those very same films used to hype up HBO Max off of the service right after it launched. Let’s just pray the same doesn’t happen with HBO’s Crunchyroll library and therefore invalidates this entire post.
Despite that, I’m hoping that this smaller selection of shows will gain traction and popularity. In that same vein, I want to name just a few anime from HBO Max’s selection that I think should be your top priority. I’m only going to name shows that I have watched though, so don’t be mad if I don’t hype up Konosuba like everyone else in the world has.
With the world going the way it is right now, I feel like more than ever, my life is on pause. I’ve graduated from college with a fairly concrete idea of what I want to be but less of an idea where my first step on that path is. Or, at least that’s what I thought.
To be more specific, I’m not sure what the first paid step on my journey is. I’ve been thinking so much about getting a job that I’ve let it distract me from how I’m already doing what I want to do. You just have to look at my bio on twitter or my About Me page to ascertain how crazy I am about being a writer, producer, and critic, both in written and visual media.
So I’m gonna keep doing what I’m doing, and if you like what I do, maybe you can support me…
The entirety of Space Dandy came and went in 2014, getting all kinds of buzz for all the right reasons. It was even fairly historical given that it premiered on Adult Swim in America before it even aired in Japan, with the English dub and everything. This was the beginning of the era of simulcasting and simuldubbing This show was a big deal.
Maybe about a year or two later I got the blu-ray of the complete series. And like any rational person who got a Blu-ray of a show, I watched a few episodes and then didn’t finish it until 2020… Seriously what the fu-
With Shinichiro Watanabe as Chief Director and Shingo Natsume as director, Space Dandy was a high-point for Studio Bones that despite the praise seems strangely absent from conversations about classics in the medium in recent years. It has the kind of recognition that assures that it will be referred to fondly, yet I feel like after watching, the expectation greatly differs from the actual product.
At the end of the much-acclaimed third season’s final credits, a fourth and surprisingly final season of Attack on Titan was announced to be greenlit.
We went from waiting years for a second season to getting subsequent sequels at a reasonable pace to the point that now I’m a little shocked that the end of both the manga and anime are syncing up accordingly. However, long-time fans became concerned as soon as it was suggested that Studio WIT would NOT be animating it.
In the wake of the world burning down, we were blessed with quite a climactic trailer for the final season. And the editors wasted no time telling us who would be helming it.
Early in 2014, when I was just getting into anime, I decided to watch Free! Iwatobi Swim Club, the now-famous sports anime by Kyoto Animation. Being in the closet at the time, I went into it with the kind of ironic half-interest that wouldn’t tip off my friends that I was hella gay (which didn’t work anyway).
To put it bluntly, Free helped me come out of the closet. Granted, the characters never canonically became boyfriends or stated they were gay in the show. Regardless, the characters were all content in their masculinity and displayed a level of intimacy and emotional expressiveness that was really meaningful to me. I will always have a soft spot for that series. I talked more about this in my tribute to Kyoto Animation that you can read here.
Ever since then I’ve had a love/hate relationship with the Boys Love/ Yaoi genre of manga and anime. There are great stories that have been told, especially recently. Yuri on Ice hit the mainstream with gayness like a nuke and we’re still waiting for that fucking film. Sarazanmai went even harder, though I can’t say it was too memorable. The romance in No. 6 was the saving grace when the rest of it was a rushed mess. Finally, dated as it was, Banana Fish was the action drama infused with gay romance I always wanted and I should really finish it.
For every decent to great gay show that has seeped through the cracks, a lot of yaoi shows have turned me quite cynical towards the genre. The trash-tier of yaoi can be downright infuriating. Shit like Junjou Romantica and Love Stage too often treat non-consensual sex as the starting point to a relationship. There are a lot of really unhealthy tropes that have made it hard to get into anime with gay romances.
There is a lot of garbage out there, but recently, anime with gay characters are being produced more and more. Hell, half of the good examples I mentioned before came out in the last couple of years. And today I want to talk about a show that broke through a lot of that cynicism for me and left me a lot more hopeful for future stories like this.
After writing for the cult classic, Serial Experiments Lain, Chiaki J. Konaka took to scripting The Big O, a 26-episode mecha series for the premier studio of mecha anime, Sunrise. However, given Konaka’s now-revered talent of writing bizarre, psychological dramas, this show was anything but ordinary.
Over the years I have come to know it as a stylistic blend of art deco film noir and sci-fi mecha. It took clear inspiration from Batman: The Animated Series, with the original concept by Keiichi Sato likening the setting to Gotham. After the original 13 episodes, however, the show was canceled, or, more accurately, it was given a shortened season by producers.
And then it aired on Toonami in 2001.
The international reception alone pushed Cartoon Network to co-produce The Big O‘s final 13 episodes. The demands of western producers were limited. Sunrise was still animating it and Konaka was still writing with seemingly as little restraint as possible, so long as he added more action and was more forthcoming with the mystery plot.
This is yet another cult classic I have been meaning to watch for a while, considering it seems to be right up my alley. Whether it be allusions to film, or it’s stylistic similarities to my childhood obsession Batman, this review was bound to happen. And yet, I can’t honestly say I was prepared for what I was in for.
It’s funny to think that the very first work by Hideaki Anno I ever saw was Top wo Nerae! Gunbuster, or, Aim For the Top! Gunbuster and not Evangelion, what he is better known for. It’s even more surprising that I hadn’t even watched Eva fully until this past summer when it released on Netflix.
Gunbuster was Hideaki Anno’s directorial debut. A high-concept super-robot show that in many ways was the breeding ground for concepts and character dynamics that would later be fleshed out more in Evangelion. It’s looked back on as a classic of the ’80s.
16 years later, Kazuya Tsurumaki, the director famous for FLCL, made a sequel to Gunbuster, titled Top wo Nerae 2! Diebuster, which was different and I mean, very different. However, it was just as good as – if not arguably better than – its predecessor.
Unfortunately, its hard to find a physical copy of either that has both shows, each one six episodes long. For the longest time I wondered when either show would be released in their complete glory. After seeing a photo on twitter of someone’s Blu-ray collection, I realized they already both already had. The same Gainax 20th Anniversary line of which an Evangelion Blu-ray was part of had produced a Gunbuster/Diebuster OVA collection. Upon learning its existence I didn’t hesitate to buy it.
Oftentimes with sequels to classics, there is a lot of skepticism among fans. They can be divided over which is better, and yet, both shows are not only received well on their own but as a pair. They are often seen as equals that complement each other. It’s a rare occurrence indeed. The question becomes: How did two shows from radically different creators manage such a success? Furthermore, is one truly better than the other?
This isn’t up for debate. Not because I’m opposed to dissenting opinions but because the festering shitholes known as the comment sections and forum posts about this new series have made such a claim a necessity.
About three years ago, Ghost in the Shell: SAC_2045 was announced. After 14 years, Stand Alone Complex was getting a direct sequel, something that was welcome after the middle-of-the-road Arise series from 2013. Even better, it would be directed AND WRITTEN by Kenji Kamiyama, the same guy who directed and wrote the original SAC. As a bonus, he would be co-directing alongside Appleseed director Shinji Aramaki.
Production I.G. would be working on it (no surprise there) along with Sola Digital Arts. In a big surprise, the character designs would be handled by Ilya Kuvshinov, someone who is mostly known to me for making beautiful art that people always set as their Soundcloud thumbnails for some reason.
Just last year we got a sense of what this very production team, sans Kuvshinov, was capable of. They released the Netflix original Ultraman, the animated sequel to the legendary Tokusatsu show of the same name. It was a cool show that got praise at the time, for good reason. So you’d think that knowing that these same people were working on the new Ghost in the Shell that people would look at the two and think “ok, this is the kind of animation I can expect.”
Instead, a lot of stupid fucking people acted like they didn’t see it coming when the new Ghost in the Shell was entirely CGI. Now that it’s released, I’d like to believe that people realized they were wrong, but nope. So I’m coming out of my hiatus swinging to get you motherfuckers cultured.