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?
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.
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.
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 action
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. Continue reading →
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 →