Posted on 31 December 2008 with categories: Anime Reviews, Mouryou no Hako


The past fall season aired a lot of good and great series, but none of them was as good as this series: Mouryou no Hako, Madhouse’s latest masterpiece. This is one series that did just about everything right. Obviously it’s not for those who don’t like people talking over and over again, but it’s perfect for those who are looking for mature and complex anime. This is how mystery should be done!

I honestly can’t recall any other anime apart from a Mamoru Oshii-production that puts more emphasis on talking as this one. The series follows a string of bizarre murders, and the people who try to solve it. This whole mystery is multi-layered, it’s full of flashbacks and references, you’ll never know when something that passes the screen is important for the future. There are lots of scenes that don’t necessarily have any direct meaning, but instead are there to flesh out the setting or throw the viewer on a side-track, and yet the series itself never loses track of its goals, and everything comes together in the end in one of the best endings I’ve seen.

Another big selling-point of the series is its cast of characters. They hardly get as much screen time or background as your average anime, and yet they’re utterly amazing. The animation knows exactly what it needs to do to show their subtle movements and gestures in order to flesh them out while many other things happen, and the background that’s there is meaningful and has a huge impact. Every character has his or her own distinctive presence, with the best ones being Kanako and Akihiko, both for very, very different reasons. The entire cast is colourful and a delight to watch, despite the huge amounts of talking within this series.

Also, if you thought that shows as Code Geass is disturbing, then you haven’t seen anything yet. I refuse to spoil anything here, but like a few other Madhouse productions, this series breaks taboo after taboo. This is nothing near your average tame detective story.

Then the visuals: they look utterly incredible. Especially in the beginning episodes and episodes, the characters all look crisp and very detailed. The animators throw the most beautiful shots and visual effects at the viewer. Combine that with an awesome soundtrack, and you’ve got some amazing production values.

The only possible turn-off is, like mentioned above, the large amounts of talking: if you don’t like it, then it’s going to be hard to enjoy this series. There are two particular consecutive episodes, where nothing else happens apart from three guys, sitting in a room and talking to each other. This anime isn’t afraid to take risks, even though it might turn off some people.

So overall, this has been an amazing series. The script is fresh and creative and has a huge impact. There’s a lot of symbolism, both visual and in the storyline, and an excellent recommendation for those who look for a short mature series. The storytelling is strong yet subtle, and it’s yet another masterpiece by Madhouse.

Storytelling: 10/10
Characters: 9/10
Production-Values: 9/10
Setting: 9/10
Posted on with categories: Mouryou no Hako





Short Synopsis: It’s finally time to reveal who is the real culprit behind this series.
Overall Enjoyment Value: 9/10 (Fantastic)
What an awesome way to close off 2008! I must say, this episode was absolutely incredible. It was the best episode of Mouryou no Hako yet, it had some of the best visuals of all the series I watched in 2008, it’s the second-most disturbing episode of 2008 and it has without a doubt the best ending of 2008, and in fact one of the best endings I’ve ever seen. Oh my god, how everything came together in the end!

So in the end, the culprit was Amemiya. I’m pretty surprised that I forgot this myself, but amongst all the clues that were thrown around, two of them pointed at the real culprit really clearly: the time when Kiba saw him outside of the research institute: he was trying to get Kanako’s limbs back, though didn’t take into account that Kiba would be there. Then, later as we saw Kanako lying in bed, it was indeed he who was watching her from the peek in the door. He then met Suzaki, who just smuggled Kanako’s head outside and killed him, taking away her head. It then seems that he met Kubo in the train, and showed him Kanako’s head, JUST LIKE IN THE STORY. It turns out that the story from Sekiguchi was from Kubo! Kubo then became jealous and wanted to create something like that too, not realizing that it took some advanced science to keep her alive in that state and… ah, forget the bloody summary, Hayase does a much better job at it.
And I must say that this is one disturbing story! Mimasaka slept with his actress daughter and got her freaking pregnant! People chopping up girls’ bodies, keeping them alive and distributing their limbs all over the country.

I must say, that of the past fall season, Mouryou no Hako has definitely been the best series of all airing shows. I already was convinced of that after the previous episode, and then it came with this episode. Even though Casshern Sins, Michiko to Hatchin and Bonen no Xamdou are already amazing, they’re going to have to be really good in order to be able to top this one. I realize how much of a hassle this series is to translate, but it would be such a shame if this gem would remain unsubbed.

My only question left is: what happened to Amemiya and Kanako’s body? Were they found? Did they disappear?

Posted on 24 December 2008 with categories: Mouryou no Hako




Short Synopsis: Akihiko gathers everyone to tell them about the things he discovered.
Overall Enjoyment Value: 8,5/10 (Awesome)
I don’t think that for the past year, I’ve ever been this frustrated at a climax than with this episode, apart perhaps from Kaiba. This episode was simply amazing, and then the creators stick in that damned cliffhanger just at the parts where the juicy parts really are about to begin! That final episode can’t come soon enough.

But really, with a series of this calibre, it actually has the chance of being my favourite ending of 2008, with all the building up that has basically been meant for that final episode, and the big questions still aren’t revealed, even though the huge amount of revelations in this single episodes. I’ve probably said this before, but I really have pity with the poor fansubbers who have to translate and typeset this series. This really is something else, and I’m still utterly amazed at how many open questions the creators managed to create without me even realizing it.

So, let’s see if I got everything correctly: The scientist whose name I forgot is actually Youko’s father, and one of the culprits is Suzaki, the one who died. In the last episode, we didn’t see Atsuko, but instead Youko (my mistake). When Kanako got in her accident, it was actually Yoriko who pushed her, after being inspired by reading Sekiguchi friend’s novel. The trigger was seeing Kanako crying (probably due to Youko, I think that it was then when she found out about how her sister was actually her mother). The man in black coat was Akihiko himself, who seems to have witnessed the event.

When Kanako was caught in the accident, her wounds couldn’t be treated in a regular hospital, so Youko desperately tried to search for a different address. That’s why she wound up at her father’s, and it was Suzuki who she talked to. It then seems that Suzaki was the one who chopped up Kanako and moved her out of the research institute in BOXES, in order to avoid detection. After that, something came and killed him, just like how Kubo Shunko was silenced. The question now remains: who the heck was that?

The way the episode ended was just filled with question marks: what is Kubo doing at the research institute if he’s supposed to be dead? Why did Akihiko say that they’re “inside Kubo”?

At this point, I can’t say whether Mouryou no Hako has been the best series of the past Fall season, since half of them aren’t over yet, but it’s definitely been the best series of the fall season that only lasted 12 or 13 episodes. At the moment, I can’t wait to see what the creators have in store for the finale.

Posted on 21 December 2008 with categories: Mouryou no Hako



Short Synopsis: Kiba’s had enough and starts going after who he thinks is the culprit.
Overall Enjoyment Value: 8/10 (Excellent)
Whoa, to think that this series actually managed to squeeze in some romance, and manages to get away with it! At this point, it really is clear that both the limbs in boxes and Yoriko’s death were simply red herrings in order to keep the viewer busy, and distract him from the one who really is at the centre of everything: Kanako. This episode, with the announcement of the death of Kubo, finally gets back to her own story.

I’m not exactly sure whether Kiba really picked out the real culprit, but someone in the research facility at least has to be involved with the whole mess. This someone used Kubo as a way to get female bodies and cut those up and used them in his experiments to create the ultimate human being: when it dies, just replace its limbs and it’s up and running again. This guy also murdered one of his colleagues, probably because he either found out too much, or was involved with the project, but tried to chicken out at that time.

Central is also Youko. If this is the case, then it would explain why the movie director knew about the human experiments. I’m still not exactly sure why she found Kiba her biggest threat, but I guess that we’re going to find that out in one or two episodes. I also wonder, what was the point of showing that poisoning-murder case at the beginning of the episode. It didn’t seem related in anyway, or did it?

I also keep getting impressed by this series’ idea of “action”. Most of the action here lies in its subtle but very powerful emotions. Like with Kiba in this episode: the creators know exactly how to create tension, and make the viewer hope that Eno’s going to be able to stop Kiba in time.

Regarding the cliffhanger, if this was a regular anime, it’d mean that the scientist didn’t die yet. However, this is Mouryou no Hako we’re talking about. Everything can happen from this point, and I’m really anticipating to see what kind of ending the creators have chosen.

(Oh, and on a side-note: Atsuko looked scary as a teenager O.o)

Posted on 10 December 2008 with categories: Mouryou no Hako



Short Synopsis: Akihiko goes to the box maker to confront him with the things he’s done.
Overall Enjoyment Value: 8,5/10 (Awesome)
Wow… just wow. This episode was simply awesome, and it shows that the creators know exactly what they’re doing with this series. The two episodes of straight talking may have been a bit weird, but of course they were an excellent means of building up, and now that we’re finally getting to see the fruits of all this, I can safely say that this is one awesome series. I definitely can put this in my top three series that have aired in the past autumn season.

This time, I don’t even care to find out what exactly was said. The non-verbal communication, along with the few key scenes that I did understand were enough to make a huge impact, although I do suspect that I’m going to have to pay a lot of attention in the next number of episodes, when it’s explained why Kubo has done all the things he did.

So in the end, the role of the box maker and his cult was that they were involved in the whole case by Kubo Shunko: at one point, he a bloodstained box ended up on their doorstep, which turned out to contain the finger of one of Kubo’s victims. Later in the episode, the police actually finds out Kubo’s hideout, and Yoriko’s body, chopped up into pieces and stuffed into boxes. He manages to escape, though, but I’m glad that apart from our four main characters, there are lots more people searching for Yoriko and Kanako, trying to find Kubo Shunko.

The big question now still remains: what the heck happened to Kanako? Kubo Shunko’s box murders was a very good side-plot of the series, but the central matter of the series has yet to be touched on, and yet we know that the two mysteries are connected somehow, as it seems that Kubo knows about Kanako, and Kanako herself has many more mysteries than simply her death and disappearance.

In any case, it’s episodes like this one that really remind me why I’ve decided to go with raws, even though my Japanese is far from perfect. The entire episode was packed with emotion, but a lot of that emotion was found in the non-verbal communication between the characters. The phrase “a picture says more than a thousand words” really fits in with this series. Every single shot seemed to contain a very powerful emotion, and that’s exactly what sets this series apart from other series that involve lots of talking, and seen to get lost in their own exposition.

Posted on 3 December 2008 with categories: Mouryou no Hako



Short Synopsis: The killer’s identity is confirmed, Yoriko’s mother is in despair and a rather big spoiler happens that you don’t want to find out before you’ve seen episode eight.
Highlights: Talk about a change of pacing!
Overall Enjoyment Value: 8/10 (Excellent)
Oh, how I love this series. It’s not like other series, where the emotional power of the characters is huge (Casshern Sins for example). In contrast, this is a very quiet series, even during the fast-paced parts like for example this episode. But the writing is so incredibly solid that I’m regarding this series as one of the best series of the season. The creators don’t aim attempt awkward drama that feels forced, but instead have really succeeded in creating a very subtle atmosphere. I don’t know about others, but I personally love it when anime uses subtlety. The more the better.

The big event of this episode was of course Yoriko’s death, although we never actually get to see her die, it’s more that her presence lurks over the episode like a very gloomy ghost. As it turns out, the real killer is a friend of Sekiguchi: Kubo Shunko. It was pretty interesting how Eno simply walked up to Kubo, asking him about Kanako, about an hour before he went on to take Yoriko with him. We also saw Kubo from a very different angle in this episode, when Eno showed him a picture of Kanako, suggesting that there’s much more to this mystery than just Kubo being a serial killer.

What I also like in this episode was that they showed the exact same footage as in the end of the previous episode, but this time from the perspective of Eno and Sekiguchi, where it’s Yoriko who’s acting strange. It was also awesome to see that the two of them (especially Eno) went on to raid her house right after she left, finding her mother about to commit suicide. It seems that she’s much more than just the delusional mother we saw in episode two and three: she really feels guilty of calling her a Mouryou (apparently she did this by mistake, I believe that it can all be blamed on an eye-problem of hers(?)

Posted on 26 November 2008 with categories: Mouryou no Hako



Short Synopsis: Kiba continues to collect clues, and finally all of the four main characters are together.
Highlights: It was a long wait, but finally the developments continue.
Overall Enjoyment Value: 8/10 (Excellent)
The biggest reason why I like this series so much is that even though its story is very confusing and complex, it never forget its subtlety and great characterization. The complex story combined with the down to earth storytelling is really why I consider this series to be among the best of the season. Some shows with lots of talking tend to get lost into meaningless exposition (I really need to stop using Soul Eater as a bad example for this…), but Mouryou no Hako manages to avoid this completely.

Thankfully this episode was also a bit easier to understand, although there were still plenty of tricky parts. It starts with Yoriko, as she continues to resent everyone around her, from classmates to her mother. None live up to her expectations set by Kanako. The next scene is about Sekiguchi, as he thinks back of the novel he read by Kubo Shunko, which I think inspired him to get more interested in the case of the boxed murders. He’s on his way to visit a certain doctor. When we reach the place, we make a time skip to later that day, when Kiba also got the idea to visit him.

I’m not exactly sure what the doctor is to the whole case, but Kiba too seems to have linked the boxed murder case with the disappearance of Kanako. The doctor was probably in charge of the autopsy of the girl who was found inside the boxes. He mentions that she wasn’t chopped up to be killed, but instead killed in order to be chopped up, suggesting that the killer had indeed been planning to box her right from the start, instead of thinking that it would be a strange way to cover up for his crime. The doctor seems to link this back to human experimentation again. A soldier that can’t die. We then switch to some flashbacks of Kiriko, claiming that Kanako can’t die, which I suspect have some disturbing truth in them.

The doctor then says that Sekiguchi also paid him a visit that morning, and Kiba is very surprised to see Sekiguchi investigating. He then shows him a few notes about the files that Sekiguchi was carrying, which prompt Kiba to pay Sekiguchi a visit. At the train station, Kiba recapitulates what happened back at the research institute.

The next half of the episode shows that Enokizu somehow has made contact with Akihiko. Toriguchi meanwhile has uncovered some new information about the box maker. A strange guy (probably a talented student) told him that he got a request for quite a large amount of boxes from the box maker. He seems to lead the same strange depression as Sekiguchi is (never noticed that, by the way). Toriguchi then shows an old-fashioned tape recorder. Toriguchi seems to have gotten it from his boss. The tape shows an ominous preaching by the box maker, but it seems to be faked. Next up Toriguchi shows a blueprint of the box maker’s dojo.

Enokizu then announces that he and Sekiguchi will be going to check up on a girl named Yoriko Kusumoto, Kusumoto Kimie’s daughter. Kimie, however, seems to stand in the box maker’s cult’s registry file. This isn’t something Akihiko surprised. Enokizu then comes with a surprising revelation: Yuuko isn’t Kanako’s aunt, but her mother. She got a baby on a very young age, and to avoid any scandals on her acting career at that time, it was just pretended that her mother had another baby. Wow…

Kiba then shows up from out of nowhere. I guess that he went to Sekiguchi’s house, only to find out from his wife/girlfriend that he was at Akihiko’s. He’s quite angry, but Akihiko cuts him off, wanting to hear his own story before that.

We then switch to Yoriko, as she seems to have met the mysterious man again in front of a painting store. He’s talking about eternal life. At first he seems a bit weird, but Yoriko is doubting whether to trust him or not. Sekiguchi and Enokizu then pop up. They don’t get much out of her, and she just leaves them to meet up with the mysterious man again. He invites her then in a room full of boxes… and the rest is left up to our imagination…

So the culprit is finally identified, it was indeed the mysterious man. The question now of course is where this guy ties in with the box maker and Kanako. Is he a member of the cult, and if he did push Kanako off the tracks as Yoriko said, then what did he want to accomplish with that? How did he get her out of the research institute?

I also have to say that I’m surprised that more and more anime are willing to use the Second World War as one of their themes. Last season, it was Nijuu Mensou no Musume; and okay, even though that one went wrong a bit, it’s good to see that some Japanese are willing to write stories about their darker parts in history. In the same way, you can see a lot of American-made games that do take place in this second world war, just as a lot of Dutch stories take place in our Golden Age, and you never get to hear anything about what “we” did in Indonesia. While an anime about Pearl Harbour is of course never going to happen, it’s good to see that there are at least some attempts to point at it.

The animation was a bit strange at times in this episode, but thankfully it was only the smoothness that suffered. The vivid expressions that make this series’ characters come to life are fortunately still there.

Posted on 19 November 2008 with categories: Mouryou no Hako



Short Synopsis: Sekiguchi, Toriguchi and Akihiko continue to talk about the various aspects of the boxed murders case.
Highlights: Just when I thought that the previous episode was filled with dialogue…
Overall Enjoyment Value: 8/10 (Excellent)
Holy crap; I can hardly believe my eyes. One episode that just takes place inside one room is one thing, but two consecutive episodes, featuring nothing more than a room with three guys in it, constantly talking. I think some record has been broken with this, because this even surpasses Seirei no Moribito. I can sort-of understand why no new subs have been released so far. This series is really something else to try and translate.

Okay, so here are my attempts to try and grasp what went on. We start the episode as usual with an example from one of the books of one of the characters of this series, I suspect that this is from Sekiguchi. It starts with a little girl who’s reading a children’s book at a local shop. We then switch to or the past of the main character of the story, and we learn that he used to be a very neat guy, sometimes taking it to extremes so that he ended up skipping his lunch. After his father(?) died, he ended up living in a large house on his own, where the loneliness drove him to insanity. I think that that scene was meant to clarify why we saw him ending up cutting up the limbs in the story blurb that we saw a few episodes back.

The rest of the episode is divided into two halves again. The first half, which takes up the longest part of the episode, is spent on our threesome as they explore the concepts of “Mouryou”. It becomes clear here that Akihiko is a real fan of calligraphy, and likes to search behind the meaning of different related words and Kanji.

What I picked up was that Mouryou aren’t just a bunch of monsters. Those are called the mountain Mouryou, but the whole term encompasses a bit more. According to the dictionary, “Mouryou” isn’t just the name of one particular monster, but the term encompasses all sorts of spirits and goblins. The “Mou”, or 魍 of the word means a monster, spectre or apparition, while “Ryou”, or 魎 means a sprite or hobgoblin. I guess that if you take the two terms combined, you get quite a broad collection of things.

For some reason, he also shows a bunch of alternative ways to write “Mouryou” in Kanji that didn’t make any sense when I looked them up. My guess is that after that, Akihiko shows them a few different creatures that can be considered as Mouryou, like a water sprite, or even a shikabane (zombie), and tells them stories in which they appeared. After that follows some weird symbolism about those Torii-shrines of the previous episode, but I really didn’t get what that was about.

Then the second half of the episode starts, end the focus gets back to the boxed-murder cases. My big trouble here is that I can’t seem to find the right translation for the word “onbaku”, which seems to be the central focus of this mystery. It seems to refer back to the concepts of faith and Buddhism, relating back to the first episode. I suspect that this “onbaku” is the guy they suspect to be the culprit of the boxed-murder case. Could he be the box-maker of the previous episode? That would explain the religious references to his cult and all.

Toriguchi then shares a theory he’s been having about the culprit of the crime, as he comes with a police report on the case. It turns out that the “onbaku” has a dead daughter. He comes up with the crazy theory that he started murdering because he believed that that will save his daughter or something, but Akihiko reckons that more information is needed to get to that conclusion. He asks Sekiguchi to show the relevant parts of the registry file that Toriguchi got from the box maker and distribute it to the police. One of the names in the document catches Sekiguchi’s attention, as it seems to be the name of another rising novelist. It seems that they met once.

The episode ends as Akihiko tells them not to go near the research institute, suggesting that he either is a very good at telling the future, or knows more than what he showed in this episode.

I must say that I’m really impressed by this series. Although it’s a lot of work to try and understand it, it’s exactly series like this one that are the reason why I watch anime: those rare unique series that simply go beyond genres and have a style of storytelling of their own.

I believe that this series is a typical alpha-series, and here’s what I mean by that: for my studies, I’ve had to read a number of papers, both written by alpha- and beta-scientists. A common trait among the beta-papers was that everything is defined up to the finest detail, and you can see the same in series as Higurashi: every action has a well-defined cause and a reaction, and it’s a great example of a beta-series. Papers that were written by alpha scientists on the other hand weren’t as straightforward, and instead just tried to look at their subject in lots of different ways and from various angles. And that‘s exactly Mouryou no Hako. It’s not trying to solve this mystery by providing clues on a silver platter, but instead it’s telling the story and background from a lot of different angles and views, explaining the background that might have something to do with it or might not. This really is the first series where this effect is so apparent.

Right now, I’m beginning to understand where Kanako’s Buddhist influences came from, and I believe that she was an influential member of the box maker’s cult. If this is true, then it does explain why she forms such a central role in this story.

Posted on 12 November 2008 with categories: Mouryou no Hako



Short Synopsis: Toriguchi shares his theories with Akihiko.
Highlights: I can’t recall having seen any episode for the past year that had more dialogue in it than this one…
Overall Enjoyment Value: 8/10 (Excellent)
Wow… just wow. When I thought that the previous episode was full of dialogue, this episode becomes even more extreme: the entire episode, safe for a few flashbacks and the intro, took place in one room, featuring just three characters talking. Like mentioned above, the only episode I can think of that matches the amount of dialogue here is from Seirei no Moribito, when Barsa got her spear fixed. I really love these sorts of episodes, which are really mind-boggling to try and understand. But yeah, the hard part comes in understanding them.

I think that the first half focuses a bit on a side-story, when Akihiko shares a bit of background on the spiritual roots of the series. The drawing with the four gates that Toriguchi draw reminded me a lot of the four Gods that watch over Kyoto from the four different directions, but it also seems to be a drawing of a shrine that Toriguchi once visited, which resided on a mountain and had four different-coloured shines in the different wind-directions. I originally thought that that was something only Kyoto had, but it seems that there are more shrines of this type, with a smaller scale.

I think the whole point of that first half is that they’re discussing what Akihiko’s powers might be, and they move across different possibilities, like fraud or spiritual powers (which Akihiko both denies), in order to get a good comprehension of what he can and can’t do (which will probably be of a vital importance in the series’ second half, when these guys will probably start solving the case around the boxed murders). What caught my attention is that this series fully acknowledges that most mediums are frauds, despite being a supernatural series. I’ve only seen this at Ghost Hunt before, and it’s an interesting effect, giving the real supernatural effects even more of a mysterious flavour. Especially in this series, since we still haven’t got a bloody clue what went on back there in the research facility.

In the end, it seems that Akihiko prefers to be called a medium, as that’s where his powers seem to fit in best. I don’t believe he explained how exactly how power worked, but I don’t care whether he did or not, those are just mere details. The fact remains that this series is doing more than just basing itself off a few cultural references randomly grabbed from Wikipedia, but instead tries something much more complex, that goes beyond mere customs and folklore.

In any case, I found it pretty amusing that Akihiko thought that Sekiguchi and Toriguchi were merely visiting him because they wanted that background on his powers, but of course there’s much more than that. In the second half of the episode, Toriguchi reveals that he’s discovered quite a bit about the case with the boxed limbs. A strange guy came to him with a story he wrote (it seems that Toriguchi is also some kind of editor, explaining why he knows Sekiguchi), and his story sparked a few strange parallels to the box-murder-case. The guy didn’t seem to care how much he got paid for it, as long as it gets published.

When Akihiko analyzes it, it seems that the manuscript was written by a woman, and the writer somehow stole it from her. Toriguchi also suspected this, so he paid the guy a small visit at home. He wasn’t there at the moment, but he got greeted by an middle aged woman and old man, in a house with a room full of boxes, of the same kind of those who were found earlier, but the old man then scared him away. If I understood correctly, then the woman used an excuse of how the old man still needed to drink his tea to buy a bit of time for him, but then I wonder why he didn’t hide the boxes.

Toriguchi then tells about a how he spoke to a guy who lives next to the house f the old man who scared him away. People seem to call him Hyouei (or something that sounds like that). It turns out that he once was a famous box maker (hence the boxes, I guess). He seems to have become that because his father was also one, and it also seems that his grandmother had some sort of spiritual ability. He was quite famous, but at a certain point he became unable to create his boxes. He seems to have a wife and son, but Toriguchi couldn’t find out where they went.

The episode ends as Toriguchi tells how he found an old letter that Houei’s grandmother seemed to have written. It talks about a piece of paper, if I understood correctly. This piece of paper contained the word “Mouryou”.

So lately, I’ve seen some discussion about why we watch raws. I do so for a bunch of reasons: it’s consistent, I’m impatient, it’s the only way to watch unpopular shows as Les Miserables and Porfy no Nagai Tabi, and without subs and I can focus more at the visual expressions and effects instead of trying to keep up with the subtitles. This episode was obviously an extreme case of an episode that’s very hard to watch raw, but at the same time I love a bit of convolution once in a while. In this episode, when I watched it for the first time, a lot went over my head, but at the second watch, when I grabbed myself a dictionary, things suddenly started to make sense. And I can also rely on some of the commenters for filling in some of the gaps or mistakes I made (especially many thanks to Zerozaki for his patience to continue pointing out the things I missed or misunderstood for every episode. ^^;)

Posted on 5 November 2008 with categories: Mouryou no Hako



Short Synopsis: The fourth main character turns out to be a detective/psychic who gets hired to find Kanako.
Highlights: Too. Much. Dialogue!
Overall Enjoyment Value: 7,5/10 (Good)
This episode was an absolute nightmare for an inexperienced raw watcher as myself. During the previous episodes, I still was able to follow the general gist of things due to the visual drawings and stuff, but this episode’s different. For once, it focused on completely different characters (half of them new ones, as if the series hadn’t already enough of them), and nearly the entire episode, save for the few minutes in the beginning, consisted out of talking, talking and more talking.

So, let me see if I got this part correctly: the first part, before the OP, is always a scene from the novel from Sekiguchi? That makes sense in a way: he created his novels based on the boxed head he saw in the train (or was that part of his books as well?), rather than him, being the murderer.

The next scene was the most mind-boggling of all, since none of its characters had appeared in the series before. It centres around a professor called Fukurai Tomokichi and Mifune Chizuko. It seems to be Tomokichi’s duty to find out whether Chizuko is a psychic or not as she claims. At first, this seems to be the case, but the professor wants to do another experiment before believing this. In charge of the contents of the box that need to be guessed is a young guy called Fuji. Somehow he screws up, and lets someone break into his suitcase and take the note out of the box that was supposed to be read. Then something happens with a bit of film that I didn’t pick up, and Fuji somehow humiliates Chizuko in front of the media. This distresses Chizuko so much that she dies of an illness. Now… why would the creators bother showing such a seemingly irrelevant case?

The next scene finally introduces the final main character: Reijiro Enokizu, again a self-proclaimed psychic. There’s one guy, Noriyuki Masuoka who attempts to contact him, I’m not sure whether we’ve seen this guy before in the series, but he seems to be in charge of the case of finding Kanako. There was a lot of random chatter in this part because Reijiro refused to take Masuoka seriously, but the gist seems to be that there is another person looking out for Kanako’s body.

The final part of the episode goes back to Sekiguchi. At this point, I’m still not sure how exactly the guy is involved in the whole case, and how he (and Akihiko for that matter) can become a major characters when they’re primarily novel-writers. This episode shows how he gets visited by his friend Toriguchi, who tell him that Atsuko (apparently, Akihiko has a sister) did a bit of research into the building they ran into in episode 2, and found out that it was a medical research institute. Toriguchi seems to have come to Sekiguchi for a strange rumour he found out, and Sekiguchi introduces Toriguchi to a person who might be of more help than him: Akihiko. Akihiko ends the episode, pretending to be another psychic.

So yeah, this series was already very complex with subs, but it becomes an entire puzzle without them. I hope I got everything right, but a big theme of this episode seemed to be psychics, and whether or not they exist. It’s never confirmed nor denied, but I think that with everything that happened to Kanako, there definitely is some sort of psychic aspect about this series.

CHANGE USERNAME
Kaiser-Eoghan
Still enjoying the sangatsu manga and all the character interactions in this most recent volume.
Kaiser-Eoghan
Quintuplets might be under consideration, dororo is a definite. I don't want to watch revisions , girly airforce or plane thing because of the cgi.
Kaiser-Eoghan
I have the first 3 doro episodes downloaded to watch tomorrow, I'll comment on them, I'm giving it a shot because I love Tezuka.
Kaiser-Eoghan
The quintuplets thing is one of those things I would see myself chuckling at for a bit then feeling no obligation to it.
Kaiser-Eoghan
The cat thing is probably cute but its too light for me to invest in in the long run.
Kaiser-Eoghan
Regarding this season, I'll be direct, it isn't my thing, I got my fill of Kaguya's manga and all I can out of it, promised neverland, once the escape bit finished just turned into an action series (at least from what I read) lacking a compelling followup hook for me.
Kaiser-Eoghan
Acca had this odd way of delivering information that made it seem stuff went on between the lines or offscreen, often it worked, sometimes it didn't. Its a show that really picks up after the first couple of episodes and really gets elevated by its revelations, cool setting , art style and opening theme too.
Lenlo
I agree it does that. I think my issue may come with me maybe missing something or just not understanding the series as a whole, and so parts of it were lost on me. I enjoyed the series I would say though
SuperMario
Let me rephrase by saying ACCA ending neatly ties up plot threads for me
Lenlo
I didnt say I didnt like it, just that it wasn't what I expected. It was odd. I think I need time to process it.
SuperMario
@Lenlo: you didn't like ACCA ending? I thought the ending is easily its best part. It's the first few episodes that feel slow for me
Lenlo
Also, just finished ACCA. Man... that was a weird ending. Not sure how I feel about the series, but damn, did it have style.

Also, thanks (?) Wooper.
Lenlo
Lets see... Dororo is good, but I am still lukewarm on it. Kaze Fui is a fantastic carry over from last season. Mob and Neverland of course. Shield Hero, if you want to be part of the latest big craze discussion. Kaguya if you like romance. Ill search some more, but those are off the top of my head.
Anonymous3338351
What are some must-watch anime this season; I'm watching MBP100 and Promised Neverland rn
Vonter
Shield hero looks like it fits with that journey of doing the right thing even though most are against you.
Vonter
You know what it reminds me of. It's kinda like that episode of Malcolm in the Middle. Where the family returns after a trip and find the neighborhood celebrates their absence, since everyone dislikes them. By the end when they make up, all the neighborhood gets bitter with one another because they no longer share a connection of hate with Malcolm's family.
Vonter
Also the undercurrent semblance of looking more like a bad guy or anti hero. Despite him having a good moral compass.
Vonter
SuperMario - I don't felt it was about being defeated or not. I got the feeling it was taking the hit for others. Because since he has high defence he does take the damage, but he does look weary about doing that. And the framework paints him so far more as an underdog than a prodigy.
SuperMario
But does the fact that he’s the greatest defender makes him the one who can’t be defeated? I haven’t watched the latest one though
Vonter
I did like the new episode of Shield Hero. It made me realize there can be stakes in Isekai battles. In both Overlord and Slime I usually space out in the battles because they seem unnecessary outside of animation. It's more interesting if there's a display of wits and using the environment. I also like the protagonist be on the defense and the sidekick as the attacker.
SuperWooper
Here's a "review of one of our own reviewers:"

Lenlo is a pretty cool guy. His taste refreshingly runs the gamut from shounen action series to character-driven period pieces. His use of "Read More" tags and intro paragraphs, though they break the site's house style, give his posts their own signature that his readers likely appreciate. I give Lenlo a 92/100.
SuperWooper
Also, if we're getting pedantic, my post on Kaguya wasn't a "review of one of your own reviewers." It was a review of an anime episode.
SuperWooper
It's "shitty?" Really? None of what we do here is for profit, or for a grade. If I want to alert readers to the fact that I've never read the manga, and choose to do it in a less-than-serious way, I don't think that violates any sacred rule of anime blogging.
Lenlo
@Niello, the technical aspect of Megalo Box is very lacking. Its a character drama with sports, not a sports series with good characters, basically. And yeah the gear makes no sense.
Anonymous3336806
It seems kinda shitty to write a "Proceed with caution!" disclaimer before the review of one of your own reviewers...
Firechick
There are also old school isekai manga such as Red River, From Far Away, Crest of the Royal Family (Which is still going), and a few others.
Kaiser-Eoghan
@Animosh: Red River also, but for a while it takes some time to re-gain the addictive quality it has in the beginning. I didn't stick with Yona, it felt like it didn't have any direction on where it was going.
Vonter
Those were different times. And while Isekai, it feels like a different genre. I feel the Isekai of old were also more eastern, given the RPGs of the time were more fairytale like and also several you listed have more of an eastern influence.
Animosh
Yona of the Dawn is also a good example of a series with a politically ambitious female lead, though I wasn't a fan.
Animosh
I forgot how female-oriented early isekai series were. I already mentioned Twelve Kingdoms, but there's also Escaflowne, InuYasha, Rayearth, Fushigi Yugi, Haruka (I've only seen TK though) ... so I guess it's only after the recent revival of the genre that it started targeting men.
Niello
Out of all the sport anime I have watched I think Monkey Turn V is the best so far. Megalobox is pretty good but nothing special imo. I heard that in term of boxing the technical aspect isn't good, though I don't know how true that is. What I personally can't get over is how their gear in reality should just be making people fall over quicker, which shouldn't make the matches more fun.
Niello
I still
Kaiser-Eoghan
I have to stop underestimating these sports shows.
Kaiser-Eoghan
Lenlo is good at convincing me to watch stuff I might not have otherwise watched, I saw ashita no Joe, Kaze and megalobox due to him =)
niello
I should catch up on Kaze, the gap is starting to get quite big.
Lenlo
Im gonna say this every week. How is an anime about running so damn good?
Vonter
I suppose when creating a story one also needs to put some restraint, since as human beings we easily gravitate to certain "tastes."
Vonter
But oh well, I think guys do also have their kinks.
Vonter
@niello - Love might be the hardest emotion to convey. Since even if you put the poses, attitude and the like, the interactions is what sells it. The chemistry as some call it. Sadly in most anime it kinda feels one sided because the male characters are too passive. I like the relation in Shield Hero, but it also underlines the common parental figure girls tend to put.
niello
Later, the author made him accepts the love as a kind of rehab for his bitterness and for the sake of political advantages the girls will gain. So there's this weird atmosphere where the author criticises harem isekai but is writing one himself, although he's certainly trying to make it an unconventional one. At least that's how it is in the web novel. I don't know if they changed it in the LN.
niello
And also to show off. Meanwhile the MC acts like he's not involved because he prioritise the right thing, and also because he's dense toward some of the girls around him (at first) and felt put off by other girls who make bold advances. In essence, he has a harem but he doesn't seek to make one.
niello
@vonter The thing with Shield Hero and harem is that the MC berates how other people who got transported to another world have the idea of forming harems like the LN/manga/anime they know before getting transported. That became the focus of some people instead of what they should be doing like seriously training and preparing for enemy attacks, which they opt for the easy way like it's a game.
Vonter
@Kaiser-Eoghan - Aside from reincarnating as a baby. Not really. Zettai Karen Children from the author of Ghost Sweeper Mikami, seems like they do. I mean they start very young and later covers have them as teenagers.
Kaiser-Eoghan
@Animosh: A slower take on a story is something that has grown on me as I get older.
Kaiser-Eoghan
@Animosh: Those scenes in kaze clicked for me this week, but at the same time, that last bit and also the scene in the middle were definately uncharacteristically cheesy.
Kaiser-Eoghan
@Vonter@Amagi: Mushoku tensei has the lead character grow up throughout it I think?
Kaiser-Eoghan
I think fan interaction by creators, theres something there, listening to fans ideas within reason.
Kaiser-Eoghan
Something that comes to mind here, sometimes i think we the audience might be better at writing the shows than the people doing them.
Kaiser-Eoghan
I enjoy explictness but wish it was used less juvenile-ly.
Kaiser-Eoghan
The latest character thats being recurring in my head is a kind of communist or liberation theology soldier that is trying to convert people, while also struggling to keep his highly polarized beliefs in some kind of balance.
SuperMario
@Amagi, tell me about it (having ideas but to lazy to materialize it). Heck, they are mostly lame ideas to begin with
Kaiser-Eoghan
I liked Scums wish .
Kaiser-Eoghan
Its almost always a boring comedy or action show.
Kaiser-Eoghan
Or have some kind of anaylsis of why the characters express themselves in certain ways in relationships.
Kaiser-Eoghan
Or something depressing.
Kaiser-Eoghan
I really really wish more stories involving nudity/sex/fetishes/ecchi/hentai could actually use this kind of thing for a good psychosexual story.
Kaiser-Eoghan
I really like it when the conflict has something to do with beliefs or repression aswell.
Amagi
Same here. I mean people are conflicted too, so these characters are actually more relatable. Strangely directors usually think otherwise.
Kaiser-Eoghan
@Amagi: I loved goodbye Lenin, my old German teacher in school was really awesome and took the class to see it.
Kaiser-Eoghan
I like conflicted characters.
Kaiser-Eoghan
I'm also fond of the idea of a villain trying to turn pure hero out of guilt from the past while still longing for his evildoing days and self-hating because of that and also feeling guilty out of enjoying the violence he commits against the villains he's up against. And sees the violence done onto himself as punishment .
Kaiser-Eoghan
@Amagi: They just end up as ideas written up rather than stories in my case.
Amagi
@Kaiser: I often feel guilty for being as lazy as I am because I have a lot of ideas and barely do anything with them. I don't even have the "I can't draw it" excuse most other people have. I am just lazy and useless.
Vonter
I've been trying to make a story for quite some time. Is about a special ops agent, that turns into a woman after a failed mission where he lost his friends and comrades. He's on a mission in order to look how to turn back and find redemption for the lost of his friends.
Amagi
OH GOD actually got FGO's Hassan i Sabbah after all with the last few quartz. Suicide prevented, thank you God.
Kaiser-Eoghan
@Amagi: Not a day goes by where I'm not thinking up some wild idea.
Vonter
Kaiser-Eoghan - The best use of incest in a story, is the one you don't see coming, like in King Ooedipus or Old Boy.
Vonter
I think the best case for that story would be using the Yoko Taro method of storytelling. Start by the end and build on how that tragic ending happened. There's a presentation where he explains his method. https://www.youtube.com/watch?v=OO_d3fwTNPo
Kaiser-Eoghan
I would never ever use incest positively in a story.
Kaiser-Eoghan
Also, I had a scenario where the hero develops an obsession with the villain, to where killing him is less about personal heroic codes, but curing himself of that obsession.
Kaiser-Eoghan
But the great thing is that the actual thing, relationship never happens.
Vonter
@Kaiser-Eoghan - That last one just reminds me of erogame about a girl than can't quite get with her crush and relives that same moment several times. Sometimes she reincarnating as man and the crush as a girl. In the end all versions end with rape.
Kaiser-Eoghan
Also some of these villains I came up with, they're deaths and rebirths could only occur when it came to settling their specific individual problem. Thus by admitting his/her love for the brother he/she dies.
Kaiser-Eoghan
@Vonter: I'll add it to my list.
Kaiser-Eoghan
I treated one of my characters like total shit, guy was a girl in his former life, got raped by some alternate version of his brother, got reincarnated a man and as a child killer/abuser, only every time this character committed a crime, they felt they abuse they inflicted on others.
Vonter
Kaiser-Eoghan - Have you read A World I Rule by Tank Guy? That's essentially an isekai about screwing over, what's essentially Eden.
Kaiser-Eoghan
And the true victory and winner is those who lost.
Kaiser-Eoghan
I love the endless cycle of you can't win no matter who you are.
Amagi
@Kaiser: I live for this stuff.
Amagi
@Vonter: I liked that about Tiger and Bunny. I don't want to spoil in case someone is about to watch it. But it contained this element of "something we're looking up to is actually some evil thing/person" and I don't mean the guys they're working for, it was clear from the beginning that those were corrupt.
Kaiser-Eoghan
But at the same time, it isn't like the hero was right either.
Vonter
Amagi - I think in the case of old villains it was caused because those didn't had civilian identities to empathize to the "human".
Kaiser-Eoghan
Also, because I love screwing characters over, after becoming the villain and actually achieving through evil, the perfect good society, even after taking in all the sins of the world and seemingly eliminating the evil inside people, humanity just fucks it all up again and became a monster all for nothing.
Amagi
We also usually don't see the villains having any problems that aren't related to the actual thing they cause. For example losing someone dear to them. Not because heroes killed them or anything, just..so. That's life etc. Making them feel more like persons. Hell even heroes have this problem. Usually when a hero suffers it's caused by the villain. As if the world wasn't more complicated.
Vonter
Also Franken Fran had a very dark and very funny story about a superhero founding out that the organization he's facing wants to conquer the world with charities.
Vonter
Watchmen, Dr. Strangelove, The day the Earth Stood Still kinda put a similar message about needing to be better with each other in order to have a better future.
Amagi
Yes, it's usually too simple. We have a clear hero fraction and a clear fraction of the villain.
Kaiser-Eoghan
*villain
Kaiser-Eoghan
I also like it when the villain isn't actually in co-operation with other bad guys, but theres also a hero, but the hero is marginalized because there are so many differing villaib factions.
Amagi
Even there, in the end it was heavily hinted that people can never bring back gone things. She saw through them and knew they were pretending and that it wasn't real anymore. Think that would happen in the other potential series we came up with too and it cause more character development.
Kaiser-Eoghan
@Vonter: Elementary school up to their mid 30s.
Amagi
Have to think of Goodbye Lenin, kinda. Not exactly that topic but similar. With the mother falling into a coma during GDR time and waking up after the fall of the wall and her family trying to pretent that they're still living in the GDR to not shock her since it could mean that she'd die.
Vonter
@Kaiser-Eoghan - To what extend watching them grow up? I mean in Dragon Ball we've seen Goku's entire life. In Ashita no Joe we have a big arc before the MC ever gets into an official boxing match. In Rose of Versailles we see a change of ideology over the course of 12 years.
Kaiser-Eoghan
Bad guys idea was to start up so much shit in our world to terrify the people back home.
Kaiser-Eoghan
The guys homeworld was basically one where things we consider evil are good over there.
Kaiser-Eoghan
I remember working with the idea, where a villain brought people back, solely to open the gateway to his homeland through stealing energy from them resulting from psychological turmoil, then broadcasting how terrible humans are back to his homeland, and his people seeing how awful humanity are, then realizing they should stop being bad people.
Amagi
It's why I am always a huge fan of characters (usually, who could have known, villains) who try to resurrect a past decade or something. Like someone trying to build a world or VR space that imitates the 80s because it was the time he grew up in and which he is still missing and want to return back to. Could be the 90s as well or whatever.
Vonter
The paradox with that, is that technically one becomes a tyrant or a monster eventually. Power corrupts the individual. Whose to say those villains didn't start with good intentions?
Kaiser-Eoghan
@Amagi; Seeing a characters entire life too, seeing him grow up.
Amagi
@Kaiser: I am often thinking about such a series too. A real coming of age, with the character realising what he had lost or is about to lose, how life changes and him trying to make it stop or escape. Or force the old status quo but realising it isn't possible to maintain.
Amagi
@Vonter: Yeah that's a great compromise. Defeat the villain but maintain his new state, or develope his idea or whatever. Just without the errors the villain made.
Vonter
Oh my, realizing that last one, could make most Isekais more interesting, since there are things those characters can't do by design.
Amagi
And then the MC comes and tells everyone that the old life is good as it is with all its flaws and don't realizes that he is actually lucky enough to not be born into misery or in the middle of some war zone like many others who die and suffer.
Vonter
Villains in the end, take the decisions the hero cannot.
Amagi
It's especially bad when the authors aren't even aware of what they're doing. Like showing that there are characters in the fictional world that get an actual better life with the change the villain brings. Paralysed people being able to move for example or poor outcasts not needing food anymore, in case that the villain forces some VR world and digitalizes people.
Kaiser-Eoghan
Booboo hiss , no revolution is lame. Revolution good, do revolution.
Vonter
Kaiser-Eoghan - Aggretsukko touches a bit on the last two examples.
Kaiser-Eoghan
I still love the idea of people actually benefitting from the terrible things the villain does and actually learning from it and the world becomes a better place because we learned not to repeat the bad guys actions. But the bad guy committed those very bad actions to make us realize that.
Amagi
@Vonter: Yeah I never liked that meta message most stories have that basically boils down to "be happy with everything as it is now and don't try changing it, also, revolutions are evil".
Kaiser-Eoghan
Or where a person attempts to explore becoming something more but ends up just accelerating the breakup/going seperate ways thing.
Kaiser-Eoghan
yes vonter, you are giving good examples.
Kaiser-Eoghan
And people growing apart because they've gotten older.
Vonter
@Amagi - Villains have selfish desires, human flaws, and determination. Heroes on those series usually defended the status quo, since that's the only thing they saw as right. And in the meta was to tell the audience how they should behave.
Amagi
Could never get into wimpy characters either. Shy yes, as long as shyness is portrayed seriously and not the typical shy/naive "etooo..ano ne.." harem guy/girl. But I always wondered who can even selfinsert into the typical harem or otome lead.
Kaiser-Eoghan
I'd happily watch a coming of age story which was just about a bunch of guys hanging out, playing videogames, watching films, anime, playing outside and just joking around, very little melodramatic stuff, only on a rare occassion drifting in naturally into the narrative.
Vonter
Ano hana is about reflecting on how the characters grew up.
Amagi
I mean villains are often the oddballs. MCs are too "normal". They're usually the typical guys that maintain the status quo (even if it's flawed), get/want a romantic relation ship and a normal life whereas the villains have ambitions and are often "different" to say it that way. They feel more human to me. Or maybe I am just too weird myself I don't know.
Kaiser-Eoghan
Or even a character reflecting on how they've grown up.
Amagi
@Kaiser: As a child it was almost always the villains for me, or villain sidekicks. Probably because writing was more strict back then and there were too many things heroes weren't allowed to think, like or do. Well it's still a problem.
Vonter
Hi Score Girl has a character that reminds me of some aspects I'm not proud of my youth.
Kaiser-Eoghan
Or a protaganist realizing all of their past romances were chosen because they thought they had to fit in by having such relationships based on expectations, when really they genuinely don't care about romance.
Vonter
@Kaiser-Eoghan Wasn't 30 centimeters per second like that? Welcome to NHK also explores some aspects of the young adult. Kimi ga Nozomu Eien is a soap opera but with adult characters in need of maturing to independent people.
Kaiser-Eoghan
So i can understand wanting to relate to something in fiction.
Kaiser-Eoghan
Also none of these stories ever reflected or related to my adolescence.
Kaiser-Eoghan
I want to see a story about someone who is trying to adjust to their mid 20s or 30s after finally realizing that what they thought would never end (what they were familiar with in their youth) is over.
Anonymous3329534
What are the must-watch anime this season?
Kaiser-Eoghan
In alot of cases naturally the underwhelming leads, male or female are romcom/harem/coming of leads...which leads me to ask, I want an dramedy that I can actually relate to.
Kaiser-Eoghan
Or it was one of the villains.
Kaiser-Eoghan
The idea of being a military commander, military leader, spy or an emperor or a more clever character appealed to me more.
Kaiser-Eoghan
Nor superpowered characters for the most part.
Kaiser-Eoghan
I've probably said this before, and I don't know if this is just from western upbringing, but I never really self-inserted into wimpy characters because I could never imagine myself like that.
Vonter
All these in regards when a girl is the protagonist.
Vonter
1.- They rarely put interesting love interests. 2.- Few times stories aren't about seeking some internal even selfish desires. 3.- In anime at least females get along very easily while I get the impression it's more complicated IRL. 4.- I identify easily the romanticized power fantasy of men but I can't tell if I've seen that thing of women's.
Vonter
It's a dichotomy. Since I've seen both the worst and some of the best female character in manga and anime. Yet I can't shake the feeling female characters have unwritten restrictions to them.
Amagi
@Vonter: The new Promare trailer got me more interested in this. So it seems like the enemies are actually controlled by humans (that..guy/girl(?)). I also feel like the new blonde character will be a traitor or secret endboss or something.
Amagi
@Vonter: I also always had a problem with female characters, be it anime or whatever. Not because of social reasons or anything, I just found them unrelatable. But they got better over the years, especially in the west. Anime always had some series with ambitious female MCs though, it's just that a lot of anime are too selfinserty and these types prefer the safe route and do otome series.
Vonter
This movie is looking sick. It looks like it's using the same type of cel shading as the latest Guilty Gear game: https://www.youtube.com/watch?v=RzFFaLB6fHw
Vonter
I've read manga and webcomics with good or bad art, both can have great or very poor writing.
Vonter
I think scores are incredibly more subjective in terms of comics than other mediums. There is just a vast array of qualities, content, and distribution and exposure also makes for some works fall into obscurity.
Kaiser-Eoghan
or huge praise either.
Kaiser-Eoghan
I decided to read that yuri manga Octave, while I'd give it a higher score than they gave it, a myanimelist reviewer was fairly accurate in saying it really boils down to "another drama" but another review said it was "a quick, short and easy to read manga" I think those are reasonable takes, for better or worse this falls it the fine category and isn't really a huge black mark against it
Vonter
Interesting. I mean it's only a matter of time there are several other Isekai mangas that are either full female or gender bended. Also the Spider Isekai is also coming soon.
Animosh
Always nice to see an author reflect on and work on overcoming his limitations.
Kaiser-Eoghan
There was that recent article where sword art's writer brought up how he wrote his female chracters.
Animosh
Japan has a female prime minister in GITS too, although she's just a supporting character. And now that I think about it, the world of SAO's current arc has a female leader - in fact, her all-consuming ambition is basically her #1 trait.
Kaiser-Eoghan
But that is more of a case of female characters in tougher mode roles.
Kaiser-Eoghan
I suppose if I was making a list of female characters that stood out well for me I would put Motoko (ghost in the shell) or Balsa from Moribito.
Animosh
But I can think of some exceptions. Youjo Senki technically has a female lead, and for an older example there's Twelve Kingdoms. And outside of isekai you have ambitious female characters like Shurei (from Saiunkoku Monogatari) or Maude (from ACCA). But it's true that they're relatively rare.
Animosh
It is true that political ambition is a big part of some isekai though. Overlord is an obvious case, and there's also Log Horizon and the Slime series this season. And the MCs of these series are all males. But then, I suppose political power over others is something that is just more likely to appeal to men, especially in patriarchal Japan.
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Kemurikusa – 03

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Winter 2019 Summary – Week 2

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Boogiepop wa Warawanai (2019) – 04 [VS The Imaginator 1]

It starts with a girl jumping off the building. I’m always a sucker for this sort of opener (clue in to Lain and Satoshi Kon even though Kon never technically did that for opener), and it feels like a decent start for the next arc to come. It basically repeats the same formula as the […]

Kaguya-sama wa Kokurasetai – 02

WARNING: This review of Kaguya-sama wa Kokurasetai has been authored by a non-manga reader. His ignorance of future characters and plot points may limit his perspective on the series as it unfolds. Proceed with caution! Boy, is this show a treat. I know we’re only two weeks into the winter season, but Kaguya-sama is my […]

Yakusoku no Neverland – 02[131045]

Thus the story of the Promised Neverland starts in earnest now that the first episode has revealed it’s book and the nature of the orphanage is revealed. As someone aptly put it, this is like Chicken Run, the anime. It’s quite interesting seeing things from a new perspective now that the curtain has risen as […]

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Goblin Slayer Anime Review – 60/100

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Zombieland Saga Anime Review – 60/100

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Seishun Buta Yarou wa Bunny Girl Senpai no Yume wo Minai Anime Review – 82/100

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Banana Fish Anime Review – 72/100

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Castlevania Season 2 Review – 73/100

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