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.Continue reading
My good friend, “Sad Scientist,” is an awesome writer and two years ago he wrote a short story called Scorpion Grass. It was a supernatural mystery set in Japan following two high-schoolers trapped in their school during the holiday break of Oban.
For two years the work went unfinished. Sci had made some changes on a whim and ended up erasing the original ending (happens to the best of us). Thankfully, I still had a saved copy of the original story, so he got to work editing it and perfected it. And now he’s created his own WordPress to publish it.
We all have our inspirations and Sci’s are works of modern fantasy such as Monogatari and the works of Kinoko Nasu (Tsukihime, Garden of Sinners). My love for modern fantasy is well-documented so I was all on-board. I encourage anyone looking for a good read to check out his work. Fans of Monogatari will surely get a kick out of it, and it has enough of an identity on its own that you’ll be itching for more when you’re finished.
Artwork by @MeltyDub on Twitter.
Thanks for indulging in my shameless plugging of my friend’s work, and as always, I’ll see you next time!
Rarely does a show come along that makes me rethink what I want from a story. Across any number of genres I’m interested in, there is an expectation of how the story will explore “drama. The numerous action shows I watch explore their drama through physical interchange, be it spectacular or grounded in realism.
Even adult dramas with a sparse number of action scenes will present other, more personal forms of violence as well as confrontation through dialog. Slice of life dramas or comedies may have lighter tones, but they may culminate in some dramatic climax where the tone changes.
This week, I’m exploring a show that approaches its story in a far more relaxed manner. It presents its political theater in a captivating way unlike any other show I’ve watched, and made me reassess how I look at what makes a drama “mature.” From director Shingo Natsume and Studio Madhouse, this is ACCA 13 – Territory Inspection Dept.Continue reading
This is a review of Trigger’s recent series BNA that I wrote two months ago for Anime Quarterly. You might recall that I wrote about how I started contributing to the site when it launched back then. Going forward, I’ll be re-uploading my reviews and other such content from Anime Quarterly here two months after they have premiered on AQ.
If you like the review and are interested in reading more by me and the rest of the AQ crew, 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. Without further ado, here is my review of BNA.Continue reading
Sometimes a show comes on your radar that just seems impossible to fail. There are just the right people attached to get you hyped by their pedigree alone and the prospect of a joining of those parties only makes you more excited. Unfortunately, hype is a gamble. No creator is perfect and no matter how good one work is, it doesn’t guarantee that the writer or director can’t fumble with another project.
Kouhei Kadono’s novel series from the late 90s, Boogiepop, is – according to fans I’ve talked to – one of the most influential light novel series out there. It paved the way for meta works like that of Nisio Isin’s Monogatari Series. It was a psychological, supernatural drama about otherworldly entities preying off of the anguish of humanity and the angel of death that released people from that anguish: Boogiepop.
In the west, the novel series and manga didn’t get official translation until the mid-2000s and even then it became mired by low sales and dropped. It wasn’t until 2019 that the fourth and fifth novels were finally released in English when a renewed interest in the series was stirred. A byproduct of this was last year’s animated adaptation.
Madhouse would be producing the new series. Back in 2000, the same studio made Boogiepop Phantom, an original story not based on a particular novel entry. Directing would be Shingo Natsume, famous for Space Dandy and One Punch Man, among other things. The music would be composed by Kensuke Ushio, whose aesthetic talents have captured hearts with A Silent Voice and Devilman Crybaby. Even Yoshiaki Kawajiri was credited for the storyboarding.
From the staff to the promotional PV (seen above), everything was promising. And then after 18 episodes, almost none of what was in the promo was in the final series. What I got ended up feeling like a fraction of what the universe of Boogiepop had to offer. Was there a silver lining or was Boogiepop and Others another adaptation to be forgotten.Continue reading
No convention has been a greater boon to animation as a whole than the anthology. Granted, I love anthologies in most mediums. A collection of short stories from a slew of diverse, creative minds can expose audiences to all kinds of stories and genres they wouldn’t normally see or seek out themselves.
In terms of animated anthologies, works like Batman: Gotham Knight, The Animatrix or recent experiments like Love, Death, & Robots are perfect examples. They expand upon established works and introduce their own lore spanning myriad genres and subject matter, all while experimenting with myriad art styles.
The best part is that you can hook the audience with at least one story and they’ll surely be curious enough to see how the others fare. Maybe they don’t love all of them, but even one or two great stories can make the entire collection worth it, especially if the whole package is an hour and forty-five-minute film with three stories.
In 1995, Madhouse and Studio 4°C collaborated to create Memories, a collection of three short films based on short manga stories written by Katsuhiro Otomo, the man who created Akira. Since Otomo seems to always be involved in the animated adaptations of his work, he was the executive producer for Memories and even directed the third and final short himself.
Together with Darker Than Black director Tensai Okamura, Studio 4°C co-founder Koji Morimoto, and legendary director/writer Satoshi Kon, Memories was an ambitious fusion of three very different kinds of stories. If the objective was to make something that would stick in your mind, then they certainly picked a fitting title.Continue reading
Here comes Matthew again, leaping to review another anime by Bones. I suppose that’s all I’m good for, isn’t it? And it’s directed by Masahiro Ando, no less…
Is Masahiro Ando my favorite anime director? He’s certainly up there with blokes like Takuya Igarashi. After all, Ando directed Snow White with the Red Hair, a show that I consider to be an empowering masterpiece of feel-good fantasy romance. Be it a drama or an action show, he is a talented director… though not without some missteps.
What I watched of Canaan never gripped me and reeked of a show whose potential was hurt by low-denominator tropes and poor writing. Under the Dog was an average pilot to a series that will never come out. And Sirius the Jaeger? More like Serious Disappointment (don’t hit me).
I would call Masahiro Ando the Brad Bird of anime. He makes some legendary stuff that will stick with you for ages, but he also tends to bat 50/50. It’s hard to tell why. Maybe it’s the source material on certain shows, maybe it’s other staff members, or maybe Ando is just inconsistent depending on the project.
I’ll cut through some of the snark and assure you of one thing, though. Blast of Tempest (or, Zetsuen no Tempest: The Civilization Blaster) is certainly on the good side of Ando’s batting average.Continue reading
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.
Studio MAPPA.Continue reading
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.Continue reading
The new Ghost in the Shell is good
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.Continue reading