Posted on 29 August 2018 with categories: Finished Series: Mystery/Suspense, Steins;Gate 0

Hello and welcome to another week of, I don’t really care anymore. Apologies for the lateness of this, but I have simply been so… un-enthused with Steins;Gate 0 recently. So without further ado, lets jump in and see why.

So to start off, Steins;Gate 0 has become boring. And here is why. With easy access to limited time travel removed, it is afraid to commit to anything that shakes the status quo. It took us 19 episodes to get to the lock-down point. The moment that Okabe is supposed to dedicate the rest of the season to fixing, the big “wow” moment. And now that we are finally here, what do we get? A “are they aren’t they dead” scenario where Steins;Gate 0 is afraid to actually commit and kill off any of its titular characters. Hell, the only characters Steins;Gate 0 IS willing to kill off onscreen are Reyes, who is criminally underused, and Kagari, a character whom I hate even exists. There are no stakes. Steins;Gate 0 has backpedaled or reversed every major event with nary a scratch on our leads. It’s boring.

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Posted on 28 August 2018 with categories: Anime Reviews, Reviews by SuperMario

Watching Mirai, there are two observations that spring right up to my mind: Mirai is Hosoda’s most grounded, personal film and it plays out completely different from what I expected based from the promotional materials. My feeling is confirmed when I later learned that Hosoda based the concept from watching his own children’s react, and that his daugher is indeed named Mirai. The film centres around the 3 to 4-year-old Kun and details how he cope with the appearance of his younger sister, Mirai. While the PVs play as if this is an escapist adventure in the vein of Peter Pan between Kun and Mirai the teenage version, Mirai is instead an episodic film where Kun meets various family members in different timelines and come to learn some “life” lessons. Its more realistic setting and its small-scale family drama are a stark different from his more fantastical (and messy) previous works, but it should relate well with kids and moreover with parents who have experienced these before. To put it better, Mirai is a perfect family-oriented feature that respect the child’s point of view with all the mature sentiments behind it.

Mirai’s episodic segments all share the same formula: Kun is dissatisfied with how the baby sister takes all the attention from his parents, he throws a tantrum, he’s miraculously thrown into another timeline where his relatives live and he grows a bit in the process before transport back home. If it sounds a bit like a gimmick, it doesn’t because all Kun’s issues are very believable for the kid his age. Children always feel left out when their “prince” status fall apart with the appearance of some annoying baby. Mirai really nails it when it exaggerates Kun’s outburst with comical distorted face that can only be done effectively in this medium. The film also understands the kid’s imaginative mindset. Kun’s at the age where everything seems possible, where dog can talk and act like a prince, where his Mama is just as messy as him when she was young, where Mirai appears as a high school girl.

It helps that the episodic segments feel like true adventures with many different settings. There’s a sense of wonder everywhere, and the production has a chance to stretch their muscles by breathing life and details to these different era. In one instance Kun is lost in a Hell-like train station, the art appropriately goes impressionist and nightmarish. In other instance (and the only time where it happens in the present), Miral the high-schooler, along with Kun and their dog in human form have to find a way to take down the dolls (Hinamatsuri) to save Mirai from “late marriage”. These moments like this not only help the members of this family bonding deeper, it also helps Kun to appreciate his family more, especially to his younger sister who he seen at nothing but a burden. If I have one minor nitpick, it is that I find the segment where he meets his great-grandpa a bit far-fetched since he doesn’t even meet the old man in real life. But in Mirai’s defense, it’s actually one of the most meaningful story in the film so  well, it’s deserved to be there after all. There’s also some moments where the film take on adult’s perspective. Especially the time where the father has to do real houseworks for the first time, thus he learns how he had been slacking on helping his wife all these years. These instances ring so true here.

But the most impressive thing Mirai pull off is how all these stories add up to paint the same family bond theme. It’s like different branches of the same tree – an apt metaphor for this film given the film frames these stories as threads connected by the grand tree that transcends multiple generations. It’s an ode to the family where every family member’s life sounds just as wonderful and epic like famous figures; where every action, every decision connect and interweave that result in the present-us just as we are now. The settings themselves have a lot of personality in Mirai, especially their house with multiple levels and see-through glass and big garden that easily triggers any kid’s imagination. You can also spot some of Hosoda’s directional trademarks like his lateral camera movement that detail members (usually the father) doing housework in a nice flow of time. There isn’t a lot of dynamic animation, but the character animation is top-notch, especially when the film deals with children expressions since they have much more movements than the adults. The most stand-out sequence for me is the one where there’s only visual storytelling about his great-grandfather and his running challenge. Just seeing how that scene play out brings tears down my eyes. It’s powerful precisely because it keeps the moment “small”.

After a string of movies that entirely focus on grand, fantastic story, I understand why some of you might be let down by this small-scope film. It’s a film with almost no real ambition but I beg to differ on that. Here’s where I like to compare Hosoda with Shinkai’s previous inputs. While Shinkai’s latest expands his scope and finds himself in tune with the general audience’s appeal, Hosoda limits his scope to the theme that he knows most; and cares the most. And that is perfectly fine. Every auteur has at least one personal film in which they disregard any artistic or financial merit and just make something that meant the most to them at the time. It’s the small cozy real-world brush that makes Mirai so enjoyable, relatable and feel almost like home.

Posted on with categories: Currently Watching:, Planet With

Why is it that no one is watching this show, as it is legitimately great. Looking online it’s sad to see that this show has pretty much no hype around it whatsoever. Those that stuck with it look to be pleasantly surprised but it seems that many got turned off by it’s first episode. It’s a shame truly as this show really has come into its own. It could be that Satoshi’s nature of making use of tropes and subverting them is working against him as viewer deem him as unoriginal before he managed to go against expectation. Take for example this episode where it has Souya refusing to fight the Sealing faction because his revenge is essentially complete now that the dragons power has been collected. Souya has no real reason to fight anymore and points out that everything he ever knew or loved is gone. Sure he has new friends on earth but the fact of the matter is that he truly lost everything before coming to earth. Any other anime the characters would start kicking the kid when he’s down and telling him to man up and fight the alien. Even in Evangelion they go out of their way to berate Shinji for not wanting to pilot a robot. Here it looks like they are heading in the same direction with even a member of the sealing faction questioning just why he isn’t fighting. But here one of the former paladins releases that Souya is just a kid and takes up the responsibility to fight the battle. Regardless it looks like Souya is going to get dragged into the battle no matter what as the paradise race tell him that the dragon is coming back at the dark side of the moon.

Benika got some development this week as she relates the story of a detective she used to admire who was killed by a kid with a gun. Making the reason why she joined the sealing faction being that she doesn’t trust humanity with power and believe that they will lose control like that kid who got his hands on a gun. What’s more it looks like the detective is the brother of Yousuke who likes Benika but looks like he feels he can’t measure up to the memory of his brother. on that if I am not mistaken it Benika looks to have feelings for Hideo and may have subconsciously wanted him to defeat her. Oh and great callback to him being the strongest of the paladins and having him defeat her. I thought that with the first half over and the paladins defeated that the op would need to be updated but they are gearing up to play a role in the second half of the series too. Comedy was on point here too with Souya seeing through Shiraishi’s illusion and having a mental crysis over whether real or illusionary boobs are better when she pressed up against him. Again, it starts as a common trope but then twists it in such an interesting way. Not to mention that cheeky little ghost in the shell reference at the beginning.

Overall I like that the paladins are coming back into the story as new warriors to fight the sealing faction and Souya’s growing psychic powers. Little disappointed that Nozomi didn’t take up the position of protecting the town but there does seem to be hints of her taking a more active role besides romantic interest. The comedy still makes things quite fun with even the antagonists lightening up like Shiraishi buting green with envy over Souya and Nozomi’s date. Benika looks like she’s out of the sealing faction so I wonder just what she will do now after being defeated. Well who knows what could happen in the best show that no one is watching.

Posted on with categories: Currently Watching:, Hanebado!

I hope Hanebado having fun of drawing Ayano this week. She who switches from normal-Ayano to Weiwei-Ayano to evil-Ayano in a blink of eye. Appropriately all my screenshots this week are dedicated to her multiple disorder personalities. After all, ridiculous drama with ridiculous facial expressions are Hanebado at its essence now. Story-wise I’m pretty sure that we won’t get to the national stage this cour. It’d be the final match between Nagisa and Ayano and the boy’s tournament. Speaking of that I find it strange to move the final match to the week after. Isn’t it just one match left? Before addressing the elephant in the room (which is Ayano, not the real elephant), let’s get down to Nagisa’s perspective first. To put it frankly her role isn’t big or important enough to be seen as a co-lead. Worse, like many characters in this show, she makes some head-scratching decisions. If she practises to the extend of hurting her knee, then what’s the point of all that? It’s the time where you’re supposed to rest your body, and one more week of practice doesn’t make any real different. Where is Tachibana in all this? Isn’t he supposed to be a coach? I know Hanebado never intends to be realistic but little nitpicks like this take me right out of the main story.

More than any other episodes, this week is the one where we can see Ayano’s character inconsistency all over the board. They say the eyes are the windows to one’s heart and it can apply appropriately here. Her eyes, from total blank when she meets Connie, to all fluffy when she’s in the Weiwei amusement park, then to Psycho’s level of creepiness, ain’t come from the same person. You can pretty much say the same for Connie. First appeared as a talented, stuck-up brat who refuses to let her partner play, what does she become this week? She got beaten by Ayano completely flat. In addition, I don’t really buy her reason to get Ayano accept her as “family member”. They aren’t bloodlined for Peter sake and this is more about proving herself to be a better badminton player than Ayano than you know, get together like a big family with welcomed arms.

And now their Mama truly comes to the picture by greeting Ayano like nothing happened? God, the drama is gonna be awesomely ridiculous next week (a little off topic but where are Connie real parents? Does Mama adopt her legally or just invite her to the house and let her stay?). On the other spectrum, we have a bit insight of Yu’s crush to her upperclassman but frankly I don’t know what will happen afterward. Will she confess? Will the other one care at all? Will we care at all? To say Hanebado goes overboard with its drama is still an understatement. THE drama is getting laughable mediocre, but the way Hanebado embraces it with all it had is kinda admirable by itself. At least, we can always enjoy the many faces of Ayano this week.

Posted on 27 August 2018 with categories: Shoujo☆Kageki Revue Starlight

Like this week’s Chio-chan, Revue Starlight reminds me a great deal to the its premiere as it marks some dramatic shift in direction that we all wish we see it coming before (I honestly doubt anyone can see this coming). Like its first episode, the piece at first plays out like some typical idol show. I literally thought that Revue Starlight had succumbed to Idol route with Idol’s concern until again, it pulls the rug out of our feet. This week is about Daiba Nana, AKA Banana, the mother figure of all the girls. Everyone could recall a moment in their lives that they consider perfect. Maybe it’s “perfect” not because of everything runs exactly the way one plan, but to borrow “Inside Out” image, it’s because the moments were so relatable and powerful they stick out to your mind. For Nana, it’s her first Starlight performance with the first-year class.

Now, while the narrative of Nana still leaves a lot to be desired (which I will get to that later), the visual cue you in to her mindset magnificently. All Nana does is to preserve her happy moments: record what they do, take pictures with the cast. Unlike previous episodes when Revue Starlight resolve the cast’s friendship issues through pairings, Nana doesn’t really have “a partner”. She walks from one place to another by herself (the images of her walking in opposite directions each time), there’s always a phone or camera that distant her from the rest (the camera’s images also signal Nana’s “chosen” perspective – that she would rather prefer looking through this lense instead of reality). I also enjoy how other characters tend to move away from the center (look at one of the screenshot), as if they extract themselves from the central force: Nana herself.

In addition, unlike other characters who want to fight to become Top Stars, Nana lacks the ambition to become one, yet she’s the most talented girl out there. That’s why her actions tick Maya off. What’s use of a talent if she doesn’t want to advance herself? Turn out Nana’s answer is: she uses her talent to relive the past. That reveal turns the show into a completely new perspective, but everything adds up because it builds from everything that came before it and gives many characters more significant roles than what they appear before. The yellow-bathed stage where Nana meets the Giraffe, for example, never feels this sinister. Basically it’s Madoka twist all over again, although I would say it’s more appropriate to compare this twist to Yuno’s in Future Dairies. She relives the past year all over again because for her, it’s the perfect moments where everyone she loves participating the Stage together. There hasn’t any girl who dropped out yet. If I have some criticism over this episode, it’s that I still feel her “this moment is perfect” kind of vague. I still don’t really know how much this timeline means to her so that she would trade anything to relive it all over. One thing is clear though, while her intention is selfish, it isn’t without its reason. Who wouldn’t want to relive their best moments over and over.

It would’ve been perfect for Nana if Hikari doesn’t come in the picture. Hikari is an abnormality in Nana’s perfect world, and suddenly both Hikari and Nana’s roles change significantly after this episode. Hikari is the one who will disrupt Nana’s perfect world, and that leads to two interesting factors. First, we learnt from previous episodes that Nana decides to step down in order to assist the stage, but what is her real deal here? Will she plan to duel against Hikari? And second, why is it that Hikari appears in this timeline and not previous loops? We know for sure that with her appearance, the loops are basically gone, but is there more into it than meet the eye? I’m personally feel that Nana won’t be the “ultimate villain” and that her arc could very well be resolved next week (since we have more characters down the line here). As it stands, Revue Starlight opens for more intriguing questions and proves once again it has more ambitious thematic reach (along with great visual storytelling) than most of the anime offering out there. This episode is a pleasant surprise for me, and easily amongst my favorite Revue Starlight episode.

Posted on with categories: Chio-chan no Tsuugakuro, Currently Watching:

At the very first moment of this episode, we have a glaring fanservice shot of Chio changing clothes and I thought to myself: “Chio-chan just can’t stop itself from having so much fun”. But it later reveals THAT is what this first segment is about. Yuki’s wearing her “revealing” track suit to school, concerning both our Chio and Manana. This week is a return to form for Chio-chan: these segments are laid out just about enough, both Chio and Manana have heaps of material to shine, and in the end the show tries something new with the little story involving Momo. It’s a welcome return of Yuki, who reveals another side of her this week to the surprise of both Chio and Manana. She wears a short tracksuit to school and she doesn’t care. She notices people glaring of her but to her it’s just like when she’s running in the big stadium. She’s fine with all the attention but it’s shattering for our girls who don’t prepare mentally for such a showcase.

So how the two girls “cope” with that? In different ways but jus so themselves. Look at how Chio decides to blend in: she wears her tennis suit so that her friend Yuki don’t stand out with her suit, but her “below-average” mindset means that she rather prefers to hide behind Yuki. I mean, it’s just a very Chio way to do. Manana, being herself, does things as indirectly as possible. She takes Yuki to the nearby supermarket so that Yuki can finally get it. The plan backfires quickly. She then teases her best friend by tempting Yuki to run, leaving behind Chio and her standout tennis suit. Even if the main joke of this segment to be: what does people react when see a girl wearing tracksuit to school, Chio-chan makes it exciting and never runs out of its welcome.

The second segment recalls the first episode’s shenanigan for all the right reasons. It does enough to not become a gimmick though. It starts innocently enough: Chio’s babbling about her games to an uninterested Manana before her game-mode takes a better of her again (Chio’s hyper for sure). Crawling up towards narrow alley is fun enough, we then have the reappearance of that bald guy (in a pretty much same situation) who still somehow misses Chio in a split second. Having Manana in this segment is an improvement from the first episode, when she just had it with Chio and storms through the roof to catch Chio. As it stands, there are many ways to reach a rooftop, and both Manana and Chio’s journey to that place prove to be entertaining and warm at the same time. “The rare item of friendship” indeed.

Lastly, we get to see the reasons why Momo doesn’t have any friend and why she joins the school committee in the first place. While she wasn’t that remarkable the first time we saw her, this little segment does a good job to give her a personality and presents her point of view. That poor girl has all the good intentions, she just need someone who listen to her. Chio-chan walks a right path this week. Segments play out just at the right length and there’s some genuine moments here. Like Chio, I feel like I’ve collected something rare watching it. Hopefully they keep it up for the remaining half of its run.

Posted on 26 August 2018 with categories: Banana Fish, Finished Series: Slice of Life/Drama

Another week, another top-notch episode of Banana Fish. This week Shorter steps up, we find out what Banana Fish really is, and we head back to New York. Lots happened, so let’s dive in!

So, I have to say I love the pacing of Banana Fish. I recently learned that Banana Fish actually has one more volume than Naoki Urasawa’s epic that is Monster. Yet Monster got a 74 episode adaptation and, because of this, flagged in some parts. So with all of this content, odds are Banana Fish is going to keep this breakneck pace for its entire 24 episode run. And personally, so long as the quality of the writing is still there, I love it. My one worry is that, with 19 volumes getting compounded into a 24 episode run, the finer details will get lost or ruined. For instance, since we are going back to New York, it already feels like some sort of climax is approaching. I have no idea where Banana Fish will go after this. But I have faith. Now onto this episode’s highlight reel!

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Posted on 22 August 2018 with categories: Currently Watching:, Hanebado!

Welcome to Hanebado AKA the sport anime where young players get repeatedly abused by the adults. Last few weeks we have the most terrible Mom ever and this week, a loud mouth coach. I mean, what’s up with all these melodrama here? It has gotten to the point where it becomes unbearable to fully embrace. It’s just that Hanebado wanted to be a serious sport show but the character writing doesn’t have the chop to pull off effective drama.The character inconsistency is all over the episode. Take evil-Ayano, the way she talks and sits (look at the screenshot) don’t fit with what we knew about her characters. What happened with the old-Ayano who wanted to be a part of the team? That leap of personality is just way too clumsy. Then we have the shouting boss which has a punchable attitude, but worse he does a 180 degree at the end where suddenly he becomes some sort of amenable person. No. It isn’t how you develop a character, Hanebado.

This episode focuses on the central match between Nagisa and Nozomi, ex-friends in middle school. It’s just that Nozomi always has an inferiority complex towards Nagisa. She knows that Nagisa is better than her, and she makes up for that by training her best. For a girl who has been listening to her coach to the point she wonders what she even plays for, it’s good to see her standing up for herself and playing the match the way she wanted. Although Hanebado’s tendency for injecting stupid drama is still there. Like, where the heck does Nagisa’s knee injury come from? Do we aware of it before? Does it feel like cheating? A bit, yes.

The match, likewise, has some unusual focus as Hanebado would underline some important points at the first set then skip straight to the end. Hmmm? Why don’t you let us see how Nozomi fight back? We have no sense that it was a close match until the umpire announces the score. We aren’t sure anymore about Nagisa’s knee either since it never brought up later. So apparently, this is just the regional tournament so that both Nagisa and Ayano will participate to the National stage. But first, they’ll need to settle for this final match. Normally I wouldn’t care less since I’m not particular fond with either character, but now that Connie and maybe Evil Mama might be at the attendance, how much more crazy will Ayano become? Maybe a Disney-villain level of cruelness?

Posted on 21 August 2018 with categories: Currently Watching:, Satsuriku no Tenshi

These two episodes felt like Zacks time to get a little development as we get a bit of a look at his childhood. I will admit that this series has a particular problem with showing it’s villains as any villain shown so far has been quite one dimensional. Now I hear that later episodes will address this with the floor masters at least but Zack’s guardians in is flashback were equally cartoonishly evil. The idea is solid however in that Zack his averation towards being treated like a tool do to his caretakers making him bury the dead bodies of other children at the home. Zack did seem unaware of what it was he was buring and upon discovering a skull in the ground he copped on to just what his caretakers were making him do. I don’t like that he got the idea to kill them from a slasher flick playing on tv as well, it seems to be reinforcing that notion of violet media creating serial killers. Still it does explain to a degree why Zack acts like a slasher villain and you can say that it was far from the only factor in his decision. So Rachels gave of making Zack relive his childhood and having Rachel unwittingly torment him by telling him what to do was a delightful bit of psychological torture.

The death of Cathy was certainly satisfying. Not because she was any kind of interesting character or anything like that but more due to not having to listen to her annoying laugh or voice anymore. She certainly was hateable so I suppose it worked to a degree. She certainly knew how to press Zacks buttons with how she pushed him to take a drug to push him berserk enough to kill Rachel. Only to have him attack himself to stop himself, pissing off Rachel as she wanted to be the one to punish him. Her end was certainly cathartic in getting wounded by criminals and then shot death by her own judgment miniguns. So with Zack mortally wounded it looks like he’s out of the story for a while with a priest like character taking his place. To save Zack Rachel must descend the floors again and revisit each one. Which in turn does look to be a descend into a darker mindset as she is not allowing anything to get in the way of saving Zack.

The third episode is the most emotion we have gotten out of Rachel since episode one. I particularly like that the more we delve into Rachel, the more messed up she becomes. The hallucinations she experienced during the episode really painting her quite differently from her initial appearance. In particular it’s worth nothing that Rachel broke when she heard her parents were dead and originally it was through that was a driving factor towards her deathwish. However in this episode she has a hallucination of her parents which painted them in less favorable light and she got out of it by cutting open the painting they came out of. Heavily suggesting that the one who killed her parents was Rachel herself. In fact there have been several hints towards Rachel being quite unhinged, seeing as she keeps a gun in her purse and the look she gave the “Zombies” when she activated the miniguns to mow them down. Not to mention that to ascend a floor she had to take their nameplates and place one in the shute, throwing away the sinner. Rachel threw away her name plate without telling Zack, labeling herself as the sinner. Which you really have to consider, what did Rachel do that she considers herself worse than a serial killer?

Posted on with categories: Currently Watching:, Planet With

With that conclusive finale last episode, many of us were left wondering just where things go from here. As it turns out, our main protagonist Souya thought the same. The answer as it turns out is that with the palidains taken down, the sealing faction has risen up to become the new antagonist of the series. The former secretary of the paladins and member of the sealing faction has infiltrated Souya’s school as a student, which many joke that she is far too old to be pretending to be a student, and is brainwashing people into thinking she just transferred in. He little brainwashing power works on Souya but in a strange turn of events Nozomi isn’t affected by the power which either suggests that there is more to her than one would think or else her glasses managed to block out the power. It’s also nice to see that the two palidains that didn’t fight in the previous arc have joined the sealing faction and now Souya will be fighting them once again. On top of all this we have the introduction of a brand new mysterious figure who claims to be the oldest race in the universe. Seems he can only be seen by Souya and takes on the form of Souya’s brother with chances being higher that they were the ones to cause the dragon to go berserk in the first place.

We have gotten background on what happened to Sirius as well as who the odd maid girl(Ginko) who takes care of Souya is. Turns out that Ginko is a space princess(No matter how I say that it will always sound silly but hey we got mascot costume aliens so…) and at the time of the dragon attack Sirius was invading her planet. Looks like Sirius gains psychic power and started invading other planets to conquer. Which caused the dragon to deem them beyond salvation and thus wiped them out. Nya Sensei for once talks by himself in this episode and tried to prevent all this from happening but was ultimately too late, only managing to save Souya. It’s a bit sad that nya sensei wasn’t able to truly affect the outcome but I don’t truly see his actions as pointless. For one i actually believe that what he said to the dragon truly made a difference as if Tesuza was the reincarnation of the dragon it could mean that Nya Sensei’s words changed his opinion. So he sought to rule over earth rather than destroy it after seeing them close to taking the same path as Sirius.

In fact that is the entire reason that the sealing faction is the new antagonist as earth is close to awakening psychic powers and the sealing faction fully believes that once they do then they will repeat the mistakes of Sirius and start trying to conquer other star systems. Souya also looks to have awakened psychic power which has me wondering as to what role that will play. Seems there is some theory going around that Nozomi is going to take over the protagonist role now that Souya has decided this all has nothing to do with him.

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Often at the start of one of these reviews, I will wax philosophical about a series. Attempting to slowly draw you, the reader, in to whatever topic or anime I am discussing in that review. This time, none of that. This time, I have to come out and say from the beginning, that One Punch […]

Dororo Anime Review – 55/100

In the modern anime sphere, getting a complete story, start to finish, is a rare thing. As is getting an adaptation for an older work. Dororo however has, through the grace of Twin Engine, managed to get both of these. Based on the 1967 manga of the same name by legendary Mangaka Osamu Tezuka, Dororo […]

[Star Crossed Anime Exclusive] Code Geass: Lelouch of the Resurrection Review – 80/100

I was lucky enough to be at Sakura-con in Seattle on 20 April 2019 for the Funimation’s movie premiere of Code Geass’ third movie with the Director himself, Gorō Taniguchi, along with his senior staff in attendance inside a room full of raving fans. Was it was worth the decade-long wait to have a worthy […]

Paranoia Agent Anime Review – 67/100

In an era of the mundane, where every series is the same moe blob, the weird sticks out. Even the most mediocre series can get attention just by being weird. Paranoia Agent is not mediocre, and it is far beyond simply “weird”. Written and Directed by Satoshi Kon, Paranoia Agent is one of his last […]

Boogiepop wa Warawanai (2019) (Winter 2019) Anime Review – 78/100

Just like the titular character, Boogiepop Phantom the series has become some sort of urban legend itself in this medium. Its Light Novels are amongst the first Light Novel ever released, dating back to mid-90s. Moreover, the franchise has endured the test of time, as it inspires anime, live-action adaptations and Boogiepop is a well-known […]

Kouya no Kotobuki Hikoutai (2019 Winter) Anime Review – 77/100

Coming to Kotobuki, there are lots of aspect that catch my attention: it’s from a famed director Tsutomu Mizushima who can turn the most trashable and genre-able concepts into something intriguing; it’s an CG show about air pilots: it has extended aerial combat set-pieces. Watching it till the end, I have to tip my hat […]

Kemurikusa (2019 Winter) Anime Review – 79/100

Kemurikusa is your very definition of an overlooked gem, one that never really gain much discussion anywhere, but one that has a distinctive style from an up-and-coming auteur who has full control of his projects. Coming to Kemurikusa, all the attention it has came from the fact that it is created by TATSUKI, a mastermind […]