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.
I finished watching the conclusion to Psycho-Pass 3, titled “First Inspector,” just before writing this. After eight 45-minute long episodes, the story concludes with a “film” meant to wrap up the season’s plot threads that had felt unfinished. My thoughts were a mixture of “ok, cool” and “what the fuck even was that?.”
I should address a mistake on my part right out of the gate. Back in the final part of my Psycho-Pass retrospective, I claimed that First Inspector would be a recap film. I was incorrect. Info at the time led publications to believe that was the case but, no, they wrapped up the story in a neat little bow, which I appreciate.
However, I don’t think I’ll be referring to this as a film so much as a delayed finale. For some reason, Amazon divided the story into three episodes, despite it being marketed as a film and even given a limited theatrical run in Japan. Though, if I’m honest, judging by the production quality, I can’t imagine being impressed by the visual quality magnified on a theater screen, save for maybe the final episode.
If the snark was any indication, this may not be the most positive review. Far be it from me to spoil the verdict before you’ve even scrolled down or clicked “read more,” but if you weren’t the biggest fan of season three, the ending probably isn’t going to make you change your perspective. Regardless, here are my thoughts on how the film tied up one of the most ambitious sequels to Psycho-Pass yet.
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?
The only thing worse than a bad show is a bad sequel to a great show.
Last time, I gave a resounding review of Psycho-Pass‘ first season, hailing it as one of the best science-fiction series of the last decade. When I first caught wind of a sequel, it was right after the premiere had aired. I had no idea that it was coming out and suddenly got super hyped to watch it. After all, it hadn’t been that long since the summer when I first binged season one.
I watched week-by-week, admittedly impressed for the most part, before reaching a conclusion that seemed to come far too soon. As time passed, I started looking back on it with more disdain. Psycho-Pass had hit a rough patch and I wondered if it could recover.
Last week I raved about the best film of 2019, Penguin Highway. Initially, I wanted to get a head start on a new multi-part series of reviews but things take time. January tends to be a time to reflect on the previous year anyhow so why not keep the ball rolling. I watched more shows this year than I have in a while and there are still more which I missed, but for now, here are my top five TV anime of 2019.
Before we begin, YES, Penguin Highway, directed by Hiroyasu Ishida, was released in Japan in 2018. However, seeing as how it was released in the US in 2019, I consider it a worthy candidate befitting of the accolade emblazoned on the title of this review. Plus I’ll use any excuse to talk about this lovely film.
Some of the most acclaimed and beloved anime films from Japan have had an inherent focus on youth and growing up. Most of the studio Ghibli films center around young boys and girls going on harrowing fantastical adventures that mature them, whether they be children or teens.
Often times the films of this nature are enveloped in that fantasy fully, never questioning the logic (and really, what’s the need?). But what happens when you set a similar type of story in a setting that is rather grounded yet slowly descends into fantasy? Furthermore, what happens when the protagonist explores said fantasy through the sheer power of science?
Not only do you get one of the most unique stories of its genre, but you also get the best-animated film of 2019
While pondering what to write for the last two weeks of November, I wondered if I could actually watch all of Demon Slayer in just week. After all if it would feel wrong to end 2019 without watching it. Friends of mine with all manners of different taste have been telling me how great it is all summer. But given the long hiatus between starting shows like Dororo and Shield Hero and finally finishing them, I wondered if I could pull it off.
Turns out it was pretty easy…
This week reminded me that I can still binge a show when I put my mind to it. It helps when the story in question is just that good. From Ufotable, the masters behind the best of the Fate series and Garden of Sinners, comes one of the best shows of 2019, Demon Slayer.
More and more lately I find shows and films that I call “pseudo-nostalgic.” They are stories that fill me with a sense of yearning for the days of older trends in storytelling, even if the subject matter is not something which was known to me when I was younger. Are these films and shows which I attribute this label just banking on nostalgia? I don’t think that’s a fair assessment. I believe revisiting an old formula in a new time can feel just as refreshing and an older story adapted for the now can be made to fit in rather nicely. Today, I’m reviewing an adaptation a long time in the making… 52 years to be exact. This is Studio MAPPA’s Dororo.
At the beginning of 2019, I wrote: Rising of the Shield Hero is 2019’s First Must-watch. It was a pleasant surprise to start the year, given how apprehensive I typically am about the Isekai genre. I was quite adamant about my excitement for this show after the first several episodes and despite the controversy, I believed it would be a total hit. I wasn’t wrong. It became one of the most-watched anime of the year and after its 25-episode run, a second and third season was confirmed.
Nearing the end of the year, as people begin reflecting on the best of the year, it bears asking if Shield Hero was worth the praise. Did it live up to its strong start?
The 1948 novel Ningen Shikkaku, known in the west as No Longer Human, is considered a masterpiece of literature in Japan. It is considered autobiographical, as the torment of the main character seemed to mirror the demons of author Osamu Dazai. Dazai had completed suicide by the time the final part of this serialized book was released.
After many adaptations across many mediums over the years, Polygon Pictures has produced a new vision of the classic. Re-imagined as a sci-fi dystopian tale, Human Lost by director Funimori Kizaki is a striking film with a lot of ideas. Unfortunately, those ideas are seldom explored to the fullest.