I’ve been blogging here since freshman year of college and in the time since, I’ve thought a lot about what comes after graduating. For a while there, I was so excited about how well this blog has done that I shelved that question when it was most important. Given current events, however, I had to kick it into high gear and think about my future.
So I’m sad to say that my review of Trigger’s new show, BNA, isn’t here…
Instead, it’s on another site that I am now a writer for
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.
Video game adaptations are almost always bad. The best of them excel only on the condition that you overlook large caveats, be they performances, the script, or how faithful the project is to the original. Video games are hard to adapt. You’re either trying to appeal to fans and alienating movie-goers or vice-versa. Both can fail depending on what is being adapted and how.
In the mid-2000s’, Warren Ellis wanted to make a direct-to-video animated film based on Castlevania. While the script was approved by Konami, the work ended up stuck in production hell for years. Adi Shankar, a producer who went viral with his “Bootleg Universe” series of fan-films, eventually was approached about producing an animated series based on Ellis’ script. While he turned down the same idea for a live-action film, believing live-action wouldn’t fit, he was more than happy to work on this one.
So eventually, Netflix adapted Ellis’ script into an animated series produced by Powerhouse Animation, an American studio. The first season – all four episodes of it – came out in July of 2017 and took the internet by storm. Everyone, myself included, was instantly clamoring for more. With the release of the second season in the fall of 2018, the show revealed even more of its potential with a longer season, more character drama, and even better animation.
With the recently released and certainly shocking third season fresh in our minds, it might be good to look back on the series as a whole thus far. It’s certainly the best video game adaptation, but is that saying a whole lot? Is Castlevania more than just the sum of its gorgeous animation?
Look at any of Japan’s most prominent genres and you might notice how self-referential the country’s media is. The tropes and visual iconography seen in classic Mecha like 1988’s Gun Buster can be seen mimicked in everything from Gundam to other classics like Gurren Lagann. I think of this as a cultural signature of Japan that they love to pay homage to the art that inspires new works. It’s about embracing new while not forgetting the old.
This past fall, SSSS Gridman hit the scene, especially committed to capturing the magic of classic Tokusatsu beyond visual cues. In the same vein, a new series on Netflix appears to have the same intentions, though arguably more accessible than Gridman. With sci-fi directors Kenji Kamiyama (Stand Alone Complex) and Shinji Aramaki (Appleseed) helming the series, I was dead set from the first trailer. Here is my review of the Netflix Original Series, Ultraman.
Whether it be their classics beloved classics like Clannad and Haruhi Suzumiya or their new projects like Hibike Euphonium and A Silent Voice, Kyoto Animation is continuously creating some of the most talked about, visually impressive Anime in the medium. Their newest project, Violet Evergarden garnered a lot of hype ever since its reveal in 2016 and finally aired this past winter
Now that it has been available on Netflix for some time, is the show a new classic for the Kyoto Animation portfolio? Well, at the risk of spoiling the verdict early, I believe Tristan Gallant of Glass Reflections on YouTube probably summed things up best in the opening of his first impressions of Violet Evergarden some months back.
For a time, I was concerned about Anime’s place on Netflix. Mainly, big seasonal shows like Fate: Apocrypha and Kakegurui were being licensed, but not released until the entire series was concluded. Granted, I’m not too crazy about Kakegurui now that I have it, but this was still a sign of Netflix’s misunderstanding of how the Anime community consumes the medium. However, as time has passed, my worries are slowly being erased completely.
Viral hits like Musaka Yuuasa’s recent Devilman: Crybaby or any of the many Polygon Pictures shows are being released all at once exclusively on Netflix. There are still hurdles though, like Violet Evergarden apparently being on Netflix in every other country besides America. Regardless, they are producing a ton of new shows and one recent addition to the roster may have been exactly the type of show that I have been waiting a while for. Continue reading →