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
As frequent readers know, in addition to running this blog, I am the Associate Editor of Anime Quarterly, a new site that just started back in July. There’s been some pretty cool stuff written over there and to round out 2020, I want to highlight some of what we’ve got over there for you.
Recently updated on account of new updates, this timeline might be one of my most thoroughly researched pieces yet. In this post, I lay out the nine-year tale of Evangelion 3.0+1.0‘s production, from the tiniest updates to the most painful delays. The goal was to paint a picture of just how long the wait really felt for those who’ve been with it since the start. I also give my two cents on why I’m still in love with the Rebuilds despite the stumbles.
I loved Powerhouse Animation’s Castlevania. Blood of Zeus, on the other hand? Not so much. Check out this review and judge for yourself whether you think it’s worth the Netflix binge.
What started as a desire to rip apart a bad-looking show turned into a biting critique of Crunchyroll’s most ambitious endeavor yet. In this essay, I explore the project thus far, assess its fundamental goals, analyze its successes and failures as such, and then offer my thoughts on how Crunchyroll can improve.
For all these and more, check out AnimeQuarterly.com and support us on Patreon!
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
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
That’s right bitches, your boy is a staff writer.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
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?Continue reading
A harsh reality that became apparent deeper into my anime fandom was realizing that some shows become weirdly inaccessible through legal means. Obviously, piracy is a handy option when publishers don’t make them available, but I enjoy owning physical copies of shows I’m particularly fond of. Secondly, I find it strange when certain shows aren’t available available to purchase or stream at all, even when they are famous.
I get it when the niche shows I like go out of print, but universally loved classics being slept on is something else. After being out of print for years, the most recent being a pricey Blu-ray collection, Evangelion has made its streaming debut on Netflix. Since I’ve never actually finished the series, this release was the perfect time to finish what I started. But more importantly, it is a chance to ask what this series still offers viewers today and how it holds up.Tumbling down, Tumbling down…
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.Continue reading
Expectations can be rough. In my post about searching for my “perfect” anime, I laid out the key elements present in most of the media I enjoy. When I see even one of these components presented especially well in an upcoming show, I become obsessed. This is more or less what drew me to B: The Beginning at the start of 2018 and it has happened again now with Tenrou: Sirius the Jaeger.
But integral the success of any of my favorite shows are qualities that only present themselves when the entire picture shows itself. In this way, Sirius hooked me with its style, concept and the mastery of its action, but when the dust settled there wasn’t much left. Sirius is a lesson in the price of basing the crux of a show’s appeal on just actionContinue reading
To the surprise of no one in this community, Anime is getting big. The movies, the exciting new projects, the growing fandom here in the states and the new players tackling this previously niche market are all very exciting. With this change though comes cynicism, as typical when the cool little clubhouse fandoms start as expand to cover more broad demographics and become something larger.
Subject to this vitriol recently has been Crunchyroll. The former illegal fansub site turned big streaming service has been growing for years, becoming one of the biggest names in Anime here in America. One that is lending a hand to the industry itself. Such growth is impressive and depending on who you talk to, really positive. Talk to the others though, and there is a different story.
Recent controversy mixed with my friends’ opinions regarding the service has given me pause to think critically about this company. Its quality as a streaming platform, it’s relationship with the Anime industry, and it’s own “agenda” (god I hate that word) are all up for discussion. So, as strange as it sounds, here is a review of Crunchyroll.