Plenty of shows feel hard to get into, but some only have such a barrier to entry because it’s not clear where to start. Maybe there are a few different adaptations, alternate continuities, and stories told out of order. If you’re lucky, you’ll have friends to guide you, or maybe a handy watch order guide.
While 2022’s Winter season rages on with much-anticipated sequels, I’m stuck between the years 2010 and 2014 reflecting on a piece of ecchi action many forgot about. From Tatsunoko Productions and director ryo-timo, this is Yozakura Quartet.
My Hero Academia is the only long-running Shonen anime that I have watched since its beginning and that I’ve kept up with since. Most other shonen are too long for me to get past the barrier to entry, so getting in on the ground floor was a great feeling. It helped that Bones was producing it and that its premise was so appealing.
80% of the world’s population has superpowers except for our protagonist? And we’re promised that – somehow, despite that – he will become the world’s greatest hero? It’s a great premise with a classic long-term promise of what’s to come. Funnily enough, despite that premise not being entirely accurate, it captured people’s attention in no time. By 2017, it was one of the biggest anime in the world.
… And for some reason I’ve never formally reviewed it until now. And with each passing season, the prospect of rewatching previous seasons to go over them seemed rather ambitious given my already inconsistent binging capabilities. So I had resigned myself to never reviewing the series. But now, five seasons and two movies strong, with the third film in theaters at the time of writing, I find myself tempted to say “screw it” and do it anyway.
So here is my review of all of My Hero Academia before the new movie comes out!
I’ve spoken about my thoughts on LGBT anime in the past. I’ve grappled with my thoughts on how homosexuality is portrayed in Japan and my feelings with shows that I’ve loved in the past that had queer-coded elements or queer-baiting. But in the last year especially, I’ve started to look on the brighter side of things. I’ve started to appreciate what my earliest exposures to queerness in anime gave me, regardless of any flaws.
Representation can only get better with time and with more diversity in the room when stories are being crafted. With studios like Blue Lynx producing higher quality gay cinema, gay representation in anime reaching new heights. And after delaying it for FAR too long, I’m happy to say that Studio Hibari’s The Stranger by the Shore is the best gay romance I’ve seen yet, but for very particular reasons…
Seldom is a movie so addicting that I find myself rewatching it within a day. Even most good films hit the spot just right that I can give it at least a while before a second watch. But some movies, whether they’re short or just incredibly well-paced, get me coming back almost instantly. The kind of film varies, but they have something in common: spectacles that I can’t get out of my head.
Mobile Suit Gundam: Hathaway is one such movie. Director Shukou Murase, the man behind Gangsta, Ergo Proxy, and Genocidal Organ – among others – brings this story to life, from novel to film. It’s the first of a planned trilogy from Studio Sunrise, and it might just be the most gorgeous film to look at in 2021.
The more that time passes, the more that I look back fondly on 2018’s SSSS.GRIDMAN. At first, it was strange, but then again, a lot of the shows that I love are strange from the outset. Perhaps my threshold for weird is expanding but more likely, I just need something obtuse to keep me on my toes these days; something to truly surprise me.
Gridman was a show about Yuuta Hibiki, a boy with amnesia, finding himself embroiled in a mission to save his city from kaiju with the help of his friends. The catch was that every time the kaiju was defeated, the world was reset the next day. The buildings were rebuilt and anyone who died suddenly had their histories rewritten so that they died of unrelated causes. Only the main characters remembered anything.
There was a mystery. There was also a tangible sense of realism to the way characters talked, especially the high-school protagonists. In an interview with SakugaBlog, director Akira Amemiya confessed that schools were visited to collect data for the show’s production, yet there wasn’t much conscious thought put into making the dialogue more realistic. That almost makes it more impressive that it came off so natural.
CG robots and monsters were used to create a disparity between the character-driven story and the spectacle, similar to how miniature cities and actors in costumes are used in tokusatsu. The villain was complex and one of the best written I’ve seen in years. The reveals were shocking and the scale of the show ended up much larger than it first seemed. And little did we know all that would only be the beginning of a new universe.
From returning director Akira Amemiya and writer Keiichi Hasegawa comes the sequel to 2018’s SSSS.GRIDMAN, SSSS.DYNAZENON.
I won’t lie. I mean, I wouldn’t be a good critic if I ever did lie, but especially in this instance, I can’t pretend that I wasn’t worried. Season three took some bold leaps to make a story much bigger than just Dracula. For the most part, it paid off. But the finale was mixed. It could feel jarring, and not every story was particularly captivating.
Then came the official trailer for season four, along with the big reveal: this would be the last season. How in god’s name were they going to bring together all of the separate stories together into one 10-episode season? After watching it, it begs questioning why I ever doubted them.
Does the title seem too cynical? I mean, don’t get me wrong, I was absolutely delighted to hear that the new Demon Slayer did well at the box office. But then it kept doing well, and then it broke record after record at the Japanese box office. Now it’s in the US with a wide release by Funimation Films, this time with a big Sony logo emblazoned on the front (clearly the big companies are catching onto how much money anime makes). It also has an official R rating by the MPAA, whereas most limited anime releases stay unrated.
This film has the potential to do pretty damn well in the west and to stay in theaters for a while, at a time where it’s feeling safer to go to theaters, even if at half-capacity. It’s the continuation of a major hit series getting the proper cinematic treatment from Ufotable, a studio more than capable of producing hit films, with localization from a major film studio finally ready to attach its name to these anime releases. This could be huge.
I love reviewing movies, but sometimes I feel like I can’t review the things that mean the most to me. How stupid is that? I’ve been doing this for almost four full years now. My greatest pride and joy has been putting into words why things do and don’t work from my perspective in the hopes that people who aren’t film critics but merely film enjoyers can appreciate things more.
But sometimes when I love something so much, I can overhype it. It happens all the time. Something will come along that isn’t just a great movie. To me, after I’ve watched it, it’s THE great movie. And if I hype it up too much, will people not feel the same way I did? Will they not cry as hard, or smile as brightly when it’s over?
I’ve decided that I can’t undersell how a film made me feel though. After all, I have the words to explain what about this film made me love it. And I can’t get too worked up over whether or not everyone who reads my thoughts will feel the same way I do. This is a review, but more importantly, it is an account of how Violet Evergarden: The Movie made me incredibly happy. And I hope it can make you happy too.
Back in May, I reviewed Given and concluded that it was precisely the kind of fun that I needed in my life. It was also a sign of more normalized, modestly budgeted LGBT anime on the horizon. And if the fancy title card for publishing company Blue Lynx at the beginning of Given‘s movie was any indication, they’re getting bigger and bigger.
I don’t think this will be a very long review primarily because this wasn’t a particularly long movie. I wouldn’t even bother calling it a movie. It was was more of an OVA. The budget didn’t necessarily increase. The CGI during performance scenes wasn’t great but wasn’t terrible either. This was more of what I liked and for a casual viewing on a Saturday night, I wasn’t disappointed.
The following is my review of The Millionaire Detective that I wrote back in October. 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.