How many shows have you passed on because you figured they “weren’t worth your time?” What were the factors that contributed to that impression? Was it a lack of interesting marketing? Was it the style? Or did you buy into the narrative being thrown around that a show was “trashy”?
In 2015, I watched YouTuber Demolition D+’s video on the Spring 2015 anime season and delighted in his humorous appraisal of that quarter’s entertainment. The headliner for the video was Is It Okay to Try to Pick Up Girls in a Dungeon?, or, DanMachi as it would come to be abridged. Demo called it an SAO clone and I didn’t so much as bat an eye because I was laughing so much.
But then the second season aired in 2019 and friends who watched it told me about the show’s world and how it was actually pretty fun and that I should give it a chance. By this point, I’d already accepted that SAO wasn’t as bad as we all thought it was, so who was I to turn down an opportunity to prove my misconceptions wrong.
After watching all three seasons of DanMachi, not only am I shocked as to how anyone could have compared this to SAO beyond the leads sharing the same VA, Yoshitsugu Matsuoka. The art styles aren’t even that similar. More than anything, I’m angry that I didn’t watch this sooner.
It’s the end of 2020… nearly. For December, I’m taking another hiatus to do some fiction writing. While I wouldn’t call it a grand finale, given how rough the year has been for many, it’s still worth celebrating that it is still ending. To celebrate, why not shout out the stories that know how to conclude the best.
Glass Reflections on YouTube often has said that “the ending is paramount” and despite my disagreements with him, I can’t disagree with him on that one. The ending of a story can make or break it. The conclusion of SAO: Ordinal Scale made the plodding narrative leading up to it all worth it. On the flip side, the last five minutes of Black Butler II ruined an otherwise exciting season in retrospect.
So here are a few of my favorite endings that left on a high note, redeeming lesser qualities or acting as the culmination of greater ones. They made me cry, they made me giggle uncontrollably, or they left me without the will to speak.
I find it amusing that the Project Itoh films adapted Itoh’s novels in the reverse order of when they were released. While that wasn’t the original intention, as the release schedule was different before The Empire of Corpses‘ announcement, it nevertheless became this way.
Empire was a mere concept of a story never completed by Itoh himself before he lost his battle with cancer. Next, Harmony, the tale of medical dystopia, was written amid Itoh’s cancer treatment. Genocidal Organ might not have a clear parallel to Itoh’s plight, but it was his first and most prominent written work. Through this film project, it’s almost like Itoh was becoming alive again.
That said, the film was hardly as optimistic as such a claim would imply. Genocidal Organ is a militaristic sci-fi drama that dissects the mind of soldiers in a future where they can be made to feel nothing. The influence between Itoh and the works of Hideo Kojima is plain as day and this story arguably goes even harder in portraying the horrors of modern warfare than MGS4 did.
This film was also delayed from late 2015 to late 2017 as Manglobe went bankrupt and production resumed under a new studio. The production problems combined with the long wait meant that the film project lost steam while the expectations grew larger for those still anticipating it. When all was said and done, was Project Itoh a success?
Rarely in discussions of book-to-film adaptations am I in a position where I’ve read the book. Most times I come at those discussions from a neutral standpoint, weighing the deviations vs the quality of the work. Additionally, the difference between the two mediums has to be accounted for. Some things work better in a book and some things work better in a movie.
The only work by Satoshi Itoh that I’ve read is Genocidal Organ, his first and most famous novel. I read it in anticipation of the delayed animated film. Part of me felt like I should indulge in the original material after the second film in the Project Itoh trilogy left me disappointed. From Studio 4°C, this is Harmony.
I’ve only ever read one of the works by the late Satoshi Itoh. It was his first novel, Gyakusatsu Kikan, or in English, Genocidal Organ. It was a stirring sci-fi novel depicting a future in which first-world countries became surveillance states out of fear of terrorism. Once you’ve read some of his work, it isn’t surprising that he was great friends with Hideo Kojima, the writer/ director behind the Metal Gear Solid series.
Itoh wrote three published novels in his time before losing a battle with cancer in 2009. Genocidal Organ was followed by Harmony in 2008. In the same year, he penned the novelization of Kojima’s grandest work yet, Metal Gear Solid 4: Guns of the Patriots. Before losing a battle with cancer in 2009, Itoh began work on another story, The Empire of Corpses.
That final story would go on to be finished by Itoh’s friend Toh Enjoe and published in 2012. In 2014, a film project was announced, adapting all three of his original stories to animation. Genocidal Organ would be animated by Manglobe (Samurai Champloo, Ergo Proxy). Harmony would be helmed by Studio 4°C (the Berserk: Golden Age Arc movies, Mind Game). Finally, The Empire of Corpses would be helmed by Studio WIT (Attack on Titan, Kabaneri of the Iron Fortress).
This ambitious project would be simply titled: Project Itoh.
Back in 2017, I wrote briefly about Itoh’s history in anticipation of Genocidal Organ‘s theatrical release in the US. However, I missed an opportunity to truly explore the merits of these films. It’s been three years and I haven’t seen much attention given to these unique science-fiction stories. It’s time to consider whether or not this project truly did justice to the works of a talented author who passed away too soon.
From director Ryoutarou Makihara, this is The Empire of Corpses.
Rarely does a show come along that makes me rethink what I want from a story. Across any number of genres I’m interested in, there is an expectation of how the story will explore “drama. The numerous action shows I watch explore their drama through physical interchange, be it spectacular or grounded in realism.
Even adult dramas with a sparse number of action scenes will present other, more personal forms of violence as well as confrontation through dialog. Slice of life dramas or comedies may have lighter tones, but they may culminate in some dramatic climax where the tone changes.
This week, I’m exploring a show that approaches its story in a far more relaxed manner. It presents its political theater in a captivating way unlike any other show I’ve watched, and made me reassess how I look at what makes a drama “mature.” From director Shingo Natsume and Studio Madhouse, this is ACCA 13 – Territory Inspection Dept.
Bleach, despite the myriad criticisms I’ve heard leveled at it, has maintained a reputation akin to anime royalty. Even from the outside, it isn’t unfathomable as to why. The art direction and style is striking enough that I can’t say I’ve seen many shows that have mirrored the look of its characters. Additionally, the show’s lifespan on cartoon blocks like Toonami guaranteed it a legacy in the minds of a generation that stayed up way too late on a Saturday night to see the newest episodes.
2020 marks the 20th anniversary of the franchise and in celebration of that, the series seems to be getting a resurgence in more ways than one. Firstly, it was announced that the manga’s final arc would be adapted in a new anime project. Secondly, a new manga spinoff of Bleach would begin in the summer of this year. The spinoff had previously started as a one-shot back in 2018 but would now turn into a full series, with a short film meant to generate hype and interest. The series in question: Burn The Witch.
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.
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
It’s the end of Pride Month and I’ve somehow managed to waste another one not talking about any gay anime. Mostly because my review of Given went up like a week before June, just missing the cutoff. Because I haven’t seen any other gay anime since then, I’ve no choice but to review the second gayest thing: Fate/Grand Order.
Depending on your priorities, or patience, or standards, Fate/Grand Order is either one of the coolest or stupidest things. The highly successful mobile game based on the world created by Kinoko Nasu and Type-Moon is a multi-arc saga almost as dense in itself as the Fate Universe is normally.
An overabundance of adaptations, spanning novels, visual novels, and comics is nothing new. Alternate universes, alternate timelines, slice-of-life comedies, cooking shows – Fate has something for everyone. Much like there is no definitive Ghost in the Shell, there is no definitive Fate (huh, it’s almost poetic when you phrase it that way).
I love the world Kinoko Nasu created. Just read my review of Lord El Melloi II’s Case Files and you can tell how much the universe resonates with me. On the flip side, I’m not the biggest fan of Grand Order. I think it lacks the substance that made other stories like Fate/Stay Night, Zero, or Garden of Sinners so incredible.
The short version: Grand Order, to me, feels like Fate trying to be Doctor Who or some other show about time travel. It indulges in some of the franchise’s less commendable habits all while feeling like a vehicle for fan service. And the biggest surprise… is that I didn’t hate this show.