#its one of those 90s OVAs

[jack-in-the-dark]

"I have no idea why it's called 'Geobreeders,' it's about shapeshifting electromagnetic ghost cat terrorists." - actual thing I said today

[ruufie]

So there's something we really need to talk about, generally as a collective, but especially in nerd/fandom spaces. And that's the collateral damage that comes with hyper-policing of "objectionable" content that will inexorably roll into fascism. Strap in, this is that kind of Tumblr post.

If you look at the of ideology of generations throughout the twentieth century, there's a pattern: each new gen is going to swing opposite of their parents. 50's patriotism, 60's and 70's hippies, 80's Reagan era America, 90's 3rd wave feminism, 00's ultra patriotism, you get the idea. So to some extent, it's not that surprising that Gen Z is starting to lean conservative. But as someone who's been in fandom spaces for well over two decades now, believe me when I tell you that the pendulum has swung so far right that--given the current political climate in America (and to some extent globally)--this is a microcosm of a much bigger issue.

Back in the 2010's, the internet was starting to grow its roots. The truly experimental days of random websites, chat sites, strange niche forums, etc, had started to congeal into a handful of massive platforms. Facebook was taking off. YouTube was past its baby stage and into its adolescence. There was a fragile stability that allowed for growth and expression in art. Particularly in fandom culture. We as a generation were growing with this new, amazing technology. And humans, when curious, like to stretch their limits. Fandom and geek spaces stretched wide, from insanely ambitious fancomics to the dredges of FF.net. And a not insignificant part of this new community was diving into the dark and the taboo.

Artists and writers wanted to explore all elements of humanity. Because, plainly, we weren't allowed to experiment with mass media. And so we made our own. Queer kids explored identity and sexuality, trauma survivors craved catharsis. Growing brains tapped into the dark and depraved if only to see where it led them. It was a playground. It wasn't always safe, and it wasn't always productive. Sometimes it was just porn for porn's sake. But that in and of itself was not a moral judgment. Sure, you'd absolutely get side-eyes if you proudly boasted that your favorite anime OVA was Boku no Pico, but most people would laugh it off at a convention and then head out to their next panel.

What I'm saying is, ten, fifteen years ago, there was a sense of understanding that the dark, sexual things in fandom spaces were just another facet of the culture. This is not to say that truly disturbing media and criticism of it did not exist. Hell, when Twilight debuted, I was one of the first of my high school to criticize the abusive relationships for what they were. The ability to criticize, to analyze and reflect on what makes something "good" or "bad" is a healthy mechanism to have. And those who did not want to engage with material that they found disturbing or uncomfortable simply didn't have to engage with it. It's why AO3 has tags. It's why Tumblr has a block or mute tag function.

But what we're seeing now is so far beyond the healthy critiquing of distasteful art. More and more now I've been seeing well meaning, liberal presenting voices equate real harm to distasteful material found in books, movies, TV shows, you name it. That is not to say that things like racial stereotypes or romanticised abuse does not have real world implications. But it is one thing to point out that "hey, 50 Shades of Gray is an unrealistic depiction of a BDSM lifestyle and if you try these things you'll likely get hurt" and "seeing characters on screen have sex violates my consent as a viewer." (that is a real argument I have seen online)

There is a hyper moral slant to this kind of thinking. The same line of thought that immediately equates "a character does a bad thing" to "the author must condone this bad thing." I have always said that we do not have a lack of media literacy, but an uptick in a reaction based economy. That reacting to a controversial thing without first digesting the thing you're reacting to gets good views and feeds the algo, so the conversation then becomes a shouting match between people that haven't even seen the damn thing. This is how you get people coming away with "Steven Universe is a show that supports genocide" with their full chest.

The push to have blatant censorship in fandom is upsetting for a good number of reasons. It's discouraging to younger creatives who want to play in those spaces for their own reasons, and it feeds into a frenzy of paranoia. Because at a certain point, it no longer becomes about the art, but whether or not you, with your Right Opinion, is the first on the dogpile.

So what does this have to do with fascism? A whole hell of a lot.

One of the first targets in a fascist regime is art. It's expression, it's creativity. Why? Because creativity is often the best vehicle (sometimes the only vehicle) to criticize the people in power. Why do you think gigantic corporations are trying to push AI art on us so bad? Because art makes us human, and humans like to point out when Shit Is Going Bad. So if you take the human out of the art, you can trick people who aren't looking too closely into being compliant.

The recent hyper-policing of fandom spaces is a tool of fascism. This is not hyperbole, nor hypothetical. It is the reality of how fascism lives and breathes. If you can convince a population to weed out the "bad" art on their own volition, weeding out the rest on your own is a piece of cake.

Before anyone puts words in my mouth, I am not talking about child abuse content, content surrounding victims of trafficking, revenge porn, or anything that brings actual physical or psychological harm to another person. With that being said, policing sexual content in fandom leads to policing any kind of intimate content at all. And as so often is the case, queer content is often lumped in with the former, despite the fact that identity and gender has nothing to do with sexuality. And that sexuality itself is a part of the human experience, and its rejection of its imitation in art is a rejection of that humanity. It's the dominos that lead into history being flat out erased. Once all the nasty sexual content is dead and gone, they'll push further. What conflict, what subject matters, are obscene? Coming of age stories? Slice of life stories? Epic fantasies, scifi, non fiction? Perhaps all of them. You can't be too careful. The heart and soul of stories, art, poetry, expression, all of it is subject to the whims of an oligarchy that frankly doesn't care if you have food in your fridge. If you speak up, speak out, put your foot down, you too are subject to those same whims. And it is so much easier to make sure you shut up forever than to be diplomatic.

We are facing a dictatorship here in America. We are going to be looked in the eye and told that we do not matter. That the best thing for us to do is to stay in line and be thankful for the stale bread on our plate. The last thing you should be doing right now is trying to speed up the process.

[bozepomagaj]

ATINY/MOA/CARATS vs Made in Abyss was the last thing I expected and its hilarious

feel like I need to say something since twitter absolutely loves spreading misinfo and just accusing people of shit, how have you people not LEARNED your lesson yet? Since when is twitter such a trusted source, especially gossip accounts?

And before you braindead stans start calling me a d!ckrider, I promise you I do not care about these men cuz I've got better things to focus on and I'm making this because people are overreacting and it's getting annoying. It's so obvious 90% of you haven't watched the anime (and thats completely fine, I get you) and then ended up listening to someone who made stuff up and overexaggerated. I'm not here to defend the author because I hate him as much as you do and can absolutely recognize the dude is into some weird shit but saying people are ONLY interested in this series because of r@pe and p€dophilia is INSANE. So let me answer some questions as a Made an Abyss reader (not calling myself a fan because you'll catch me DEAD before you see me buying any merch or manga despite my love for the series), kpop fan second.

Does Made In Abyss contain p3d0ph1l1c themes, gore etc.?

There absolutely is because the author is a creep (refering to the nsfw however, most of the times it's very easily skippable. As someone who hates l0l1con cuz it creeps me out, I can tell you that I really didn't have a hard time skipping said scenes even in the manga which is far more explicit than the anime (Prushka asking about Bond's 'stick', Faputa looking into Regs pants, Vueko's weird comments) and sometimes, they're even added as extras (0.5 chapters) which certain sites that contain scans don't even include. I didn't even know about the existence about a few of these chapters BECAUSE they don't include them.

The OVA is a nightmare to watch and was not only unfunny but creepy as fuck especially when they try to boil down such an amazing character like Ozen into 'I like seeing little kids in pain'. Now I have no idea if this was made independently but I don't remember the author making any spin-offs that they could base this on so I can't tell you who wrote it but even then I doubt that the author minded it since the man himself had to include that Faputas behind smells like the 'Sun' so again, not here to defend him cuz he most definitely is a weirdo, no doubt about it.

Is Made in Abyss torture p*rn?

If MiA is torture p*rn then AoT is military propaganda and supports child labor, TPN is also torture p*rn, JJK promotes violence, Berserk excuses r*pe and Evangelion is also p*do bait. See how stupid that sounds? Just because an anime INCLUDES something, does not mean it necessarily supports it. Yes, r*pe is mentioned but it's not even SHOWN, and it's a cruical part of a characters backstory. The torture that happens, happens only once if we exclude Riko's 'experiment' at the very beginning of the manga. And Mitty's transformation can't even be classified as torture cuz it's a.... transformation. Prushka's death is very censored so its not like you can jack off to that anyways. Now the piss thing is something I have noticed but haven't really payed attention it because bffr why the hell would I so idk, maybe the author is trying to tell us something or the guy thinks pee pee poo poo funny🤷‍♀️.

Is there any plot besides the weird stuff?

See now this is the part that gets me most because the reason why a majority of people nowadays got into MiA in the first place is BECAUSE of the amazing plot. The world building, the mystery, the fight scenes, etc. It's amazingly drawn, nicely paced and unique in its own way. But of course, it's manga&anime and what's anime without fanservice? I already explained that in manga, said scenes can be easily skipped and the anime thankfully doesn't include a lot of these. I do have to admit thag I dropped the manga for now since the chapter where they were in a bath cuz it was another one of those 'here we go again' moments where it made me roll my eyes and just close the tab so I don't really know what's been happening recently and if things go weirder.

I'm also gonna tell you honestly that yes, the fandom is filled with sweaty dudebros itching to see these kids half naked and the author is aware of them and pondering to them because he too is one of them. But a large majority is back from when the anime originally came out and are mostly hiding on twitter so it's easy to avoid them and they've been pretty rare ever since people with actual interest in the series have begun watching it. A reason why back in the day I didn't wanna interact with the fandom at ALL was because the moment I tried to have a normal conversation about the plot and what might actually be going on, I instead get bombarded with "UWAAAA😭😭😭" and 'c*nny' comments. I also cannot defend and don't even plan on defending the fact that Faputa is pretty much naked the entire series. I get that she lives in the literal wilderness, but the very least you could do is put a cloth on her y'know. And mind you, I'm talking about the manga. The anime is a LOT more heavily censored, and from what I heard, even MORE censored in Korea.

To sum it up:

Do I think Mingi/Soobin/Woozi are p*dos cuz they watched the anime? Absolutely the fuck not. Considering Mingi is a big CSM fan, I can see why he watched Made in Abyss because I was in that same pipeline. I think some of you are going way too far with these comments, if you wanna call them weird, creepy, wanna unstan them for reading stuff like this go ahead, not gonna stop because in the end no one can but accusing people of crimes isn't funny and never will be. If they were exposed for watching shit like Kodomo no Jikan then that most definitely IS eyebrow raising. Maybe I'm slightly biased due to me only enjoying MiA for the plot so seeing people say the fans are p3d0s when the first time I watched this was when I was freshly 15.... yeah idk abt that one. Whether they liked the weird and questionable scenes, I have zero idea I'm just here to say that you can enjoy said anime without being a weirdo and you shouldn't begin jumping to conclusions and start calling people straight up criminals. If anyone wants to have a productive conversation and ask questions abt said anime cuz I doubt you're gonna go watch an anime over a Twitter drama, go ahead and ask. If you wanna insult me and call me a d!ckrider then go ahead and do that too, who am I to stop you?

[canmom]

Animation Night 184: Mars Express

Animation Night is baaaaaack from Annecy break!

And yeah, the last couple weeks of this blog have been pretty Annecy focused here on the canmom entertainment sphere. And tonight that will continue! For tonight we shall right a wrong! And that wrong is...

...that wrong is that I didn't get to see Mars Express at Annecy last year. @mendely did and I was super jelly, OK!

For real though, this was among the hottest tickets at Annecy last year, and despite queuing a bunch of hours, I didn't stand a chance to get in without a reservation. But what is it? Well, it's a scifi movie directed by Jérémie Périn. Who's Jérémie Périn?

Well, the true veterans may recall Animation Night 1, when I showed you a certain music video for a song called Fantasy by DyE...

...that's not gonna embed, is it? But if you know, you know. (If you don't know, it's the one where the teens break into the swimming pool to make out and such and then a bunch of them turn into tentacle monsters.)

So Jérémie Périn is the guy who directed that! He's also well known for directing Lastman, a crowdfunded action series in which a boxer battles a bunch of superpowered agents to try to protect a psychic girl, not that you'd gather any of that from this trailer...

and writing for Crisis Jung by Bobbypills - don't blink or you might miss the boob-growing henshin and the guy with a chainsaw dick...

And while Crisis Jung isn't primarily his project, we can still definitely trust that when Périn is at the wheel, we'll seem some incredibly stylish, anime-inflected drama and also some proper freaky imagery now and again.

Mars Express, however, is Périn's first foray into film rather than TV animation, building on the big success of Lastman - and a pretty high-effort foray at that, taking some five years to make. And by all accounts it kicks total ass.

But what's it about? Classic cyberpunk noir material: a detective and the android replica of her partner return to their home planet Mars after apprehending a robot hacker. But the hacker is released, and they're given a new mission - to work with this hacker and go down to a colony where, ostensibly, humans and androids live in harmony, and track down a guy who jailbreaks the androids from their artificial constraints. That sounds pretty shady already, right? But the dirty secrets are only beginning.

Mars Express definitely pays its homages to those classic 90s anime films and OVAs like Ghost in the Shell and Armitage III, as well as games like Another World for the Amiga, but by all accounts gives it a fresh approach, with grounded characters - protagonist Aline struggling with alcoholism, her reconstructed partner Carlos with his floating holographic head carrying the whole identity issue of being a robot clone who's been rejected by his original's wife - which anchors plenty of juicy scifi concepts like renting out your brain as a computer, or something called 'resonance' which is how robots do it. What does that mean? The review I'm reading left it at that! Guess we'll find out.

Like most European productions it brought together a long list of production companies and it's a little tricky to figure out which ones are actual animation houses, but the main company seems to be 'Everybody on Deck'. They previously worked with Périn on Lastman, but otherwise largely seem to have worked on live action films. However, the animation was split among a variety of studios.

We can at least say that it brought in French animators from across the shop, some even on this very website. (At least I seem to recall seeing people having posted about having worked on it, though if I search now I mostly find peoples' reviews of the film). It's animation leans realist, with naturalistic motion taking advantage of anime-style 3s and 2s to give it a weighty feeling, embedding its characters in detailed environments with strong colour design...

And if we want to know more than that, we're in luck, since there's a pretty substantial 16-part making-of series partly available on Catsuka's youtube, starting with episode 1 showing the development of the script, with Périn and co-writer Laurent Sarfati bouncing ideas off each other. Only two other episodes are available: episode 11 shows some of the voice recording, and episode 16, which talks about the actual animation, interviewing various animators and showing some shot breakdowns. The last of these is probably the most interesting (to animators), talking about how the film went about realising Périn's 'precise, clinical' realist style.

The team were evidently very conscious of this being, for France, a first of its kind - a French-animated thriller targeting adults, with big ambitions to become a landmark film in French animation, able to stand up against the best anime. I'm not sure it's actually the first - for example, Summit of the Gods is also a tense, French-animated thriller with a realist art style! - but it's definitely a genre where there are very few examples to compare, and the team's ambition comes across as absolutely genuine.

That's probably enough to go on! We'll definitely also check out some of Périn's other work tonight, but Mars Express is our main feature! Starting in about an hour and a half at 8pm UK time, at our usual place, twitch.tv/canmom! Hope to see you there!

[lemon-dokuro]

Yesterday, I watched Sound Holic's 2007 Touhou fan film, Touhou Project Side Story ~ Memory of Stars.

The plot is about Kaguya's father, the Moon's ruler, coming to take her and Eirin back. Makes heavy use of sci-fi aesthetics and is mostly set in space. Naturally, because it was released before Bogetsusho/Silent Sinner in Blue, all it had to go off of for the state of the Moon civilization and Kaguya's relationship to it were the 8th Touhou game and maybe Reisen's route/interactions in the 9th. It's a little interesting to see the creators' interpretation because of that, but... It was recieved very poorly by the japanese Touhou fandom in 2007 when it came out, you can even find comparisons to the infamous Cookie series. The reception is understandable — it really isn't good. I actually wouldn't call the story or the premise bad, they're just kitschy in a way characteristic of the otaku culture of its time, but they are ruined completely by the wonky presentation and especially the incomprehensible pacing. I don't want to recap it here because the anime isn't even that long or hard to find, but if I did, I'd have a fair bit of trouble. It feels like one of those 90s OVAs that tries to cram 4-6 volumes of a manga in about 40 minutes, so most things happen too fast to have an impact. There's a whole character that makes absolutely no sense because she has too little screen time and too little actually explained about her (Sphere Sieben, the redheaded space commander lady). Sakuya is there for a barely explained reason. Mokou comes out of nowhere in the middle (well, at least that had a point, ridiculous as it was). And considering this, bizzarely, the movie also has a lot of pointlessly drawn-out scenes where not much happens, like they were trying to pad out the runtime, even though there's a lot of substance they could have added. I have no idea what kind of constrains they were working with, but it's not like they couldn't have just written it more tightly. If not better, then, you know, at least. Even though I don't think the general premise and the story are bad per se, they are very unfitting for Touhou. The creators are obviously going for space opera aesthetics, which is a really weird fit for Touhou. They don't even really try to make it fit. Egregiously, Kaguya's presumably biological father, Luna Marius, has a sci-fi-ish western-style name for absolutely unexplained reasons. Of course, that kind of naming difference is not implausible at all, but it's a really weird creative choice, especially considering it's never adressed, not even in a throwaway line or anything. One could say it's emblematic of the work not compromising the conflicting aesthetics in any way. The visuals are often criticized for obvious reasons. They are great to me because I'm an oldschool doujin fetishist, but it's clearly all very stiff, mildly inconsistent, generally amareurish and feverishly oversaturated with bright flashing effects half the time. The backgrounds mostly consist of said effects. A lot of the animations are obviously reused. That being said, the original character designs are pretty well done. The bunny girl looks especially good, the artist absolutely nailed the early windows Touhou design style. Also, naturally, because Sound Holic is mainly a music circle, the soundtrack is decent. It's not remarkable, but there's nothing wrong with it, it's standard for 2007 Touhou arrange tracks. There's not much to say about the voice acting either — standard for doujin anime. The voice actors are inexplicably pretty well-known, but it's not that uncommon to see big names on the most random 2000s doujin projects. That's probably how these people become popular in the first place.

Well, what can I say overall. It's a weird little movie. I can't recommend it, but maybe you'll get a laugh out of it, or maybe you'll like the visuals as much as I did.

Also, that rabbit's names are both mochi types...

[electricpurrs]

that post i made about pretty 90s anime women is being a kind of difficult thing to deal with internally because the largest sentiment being expressed in that post is a longing for old anime is contrast to a distaste for new ones. and i partially made the post with that sentiment, i agree that i like the natural but diverse designs in the characters and the way they're proportioned like adult women in contrast to unsavory anime out there that makes characters that are or look too young, or just stop looking like people at some point. i cannnn really understand that sentiment and think its valid but also I'm not sure if i.... 100% agree with no buts?

ill always be inherently suspicious of sentiments that urge you to think "things were better in the past and bad now, so we need to bring the past back" because y'know. it is reactionary one way or another. so while i love the natural style of characters in that 90s OVA i really don't. inherently dislike modern anime styles that go for a big-eyed and kawaii vibe.

nor do i think 90s anime was in any way free from the same criticisms modern anime is given in those regards.

nor do i think modern (but really, the styles started getting like that since the early 2000s, its in no way "new" and id say a lot of anime has probably slowed down in this moe-ness since the 2000s-2010s) are incapable of being "realistic" or "natural " in their portrayal of people and human relationships and interactions, or incapable of Being New or Having A Cute Style and also being meaningful worth pieces of art.

(and noooooo not all anime that's modern or that has a moe style inherently has minor sexualization or other unsavory content. really just try to find good anime instead of bad anime. i promny there are good ones without the things you inherently associate with the medium as if they're synonym with each other)

so i don't know if i like the path my post is going when the vast majority of people in it are expressing opinions i do not agree with and jumping to predisposed conclusions. i might make it unrebloggable soon who knows

[radiantresplendence]

What Even Is a Kara no Kyoukai?

Kara no Kyoukai is a series of anime movies put out by Ufotable between 2007 and 2013 based off of the light novel series of the same name written by Type-Moon founder and creative director Kinoko Nasu in the 90s.

That's it, that's the post.

But seriously, if you're familiar with Nasu's other works, you'd know that they have a reputation for being rather inaccessible, especially to those in the west and Kara no Kyoukai specifically comes with some extra content warnings that aren't as prevalent in some of his other works.

Now, this would normally be fine, however a lot of content put to the forefront as "primers" to the show by the anime community either focus too much on the metaphysics and how it relates to other Type-Moon media or is a detailed thematic analysis that gives away too much of the sauce.

I plan to do neither here.

Instead, I'll give a brief rundown of the show's traits. Then, I'll talk about the main cast of characters and I'll finish it off by giving the general premise of each episode. (And I'll lump all of the Extra Chorus OVAs together for this purpose.)

So, Kara no Kyoukai sorta paved the way for the trappings you'd expect of modern Ufotable. Even over 15 years later, the show is absolutely gorgeous and puts a lot of modern anime to shame with its production quality. The attention to detail, shot composition and immaculate backgrounds that you'd expect of a Unfotable production are all here. Except this was really the first work to bring those traits to the forefront.

Just on the merits of that, as an anime watcher its worth the curiosity. The triumphs of productions like Demon Slayer and Fate/Zero clearly trace their DNA right back to Kara no Kyoukai.

The OST for this series is... basically unmatched. Kalafina was founded to do the music for this show, and the general consensus seems to be that Yuki Kajiura did some of, if not her very best, work on this show.

Admittedly I'm a not a big music analysis person, but I will personally attest that the ambiance and immersiveness of Kara no Kyoukai's score is some of the best in any piece of media that I have consumed. Also the big theme songs for each film all absolutely rock.

Doing a little background research, it looks like a lot of those theme songs are on the Kalafina album Seventh Heaven, so if you're a fan of high-quality J-pop/rock, give that a go maybe. I mean, they're really good in a vacuum, better in the context of the episode they were written for.

Its paced a lot slower than a lot of other anime movies, leaving a lot of room for ambiance and quiet character moments. Also quite a bit of the series is just characters talking, be it about philosophy or metaphysics, but it's usually not egregious and if you're into that sort of thing (which I am) it's a good time. Also the cuts can be quite creative, especially in Paradox Spiral.

So, now that a lot of that peripheral housekeeping is done:

What the Fuck even is a Kara no Kyoukai?

It's a paranormal mystery, dark urban fantasy thriller seinen anime that explores themes of humanity, identity, sin and dichotomy. Oh and murder. Especially murder.

The general plot setup is more something you'd expect of a shoujo. Boy meets girl, the complexities and trials of their relationship etc.

The big twist is that the girl in this trope is best described as "one who murders" and the story is told out of chronological order.

It's set in a fictitious city in Japan called Mifune, mostly between '96 and '99. Supernatural phenomenon exist, but aren't common knowledge and the main focus of the subject matter is individuals with some manner of ESP or active psychic ability, though there's significant representation from elements of mysticism as well as more archetypal wizard sorts.

I strongly recommend watching the films in release order because its better thematically, however there's a lot of value on a rewatch and doing so in chronological order could shed some light on things.

As I'm about to transition into talking into some of the show's particulars, here's where I'll put the content warnings for those who would prefer going in blind and would like to know what horrible imagery they're about to be exposed to or would maybe be dissuaded by.

CW, suicide, gore, horror, sexual assault, domestic violence, cannibalism.

Who are the main characters in Kara no Kyoukai?

Shiki Ryougi is our main character. A young woman with an attraction to death and murderous impulses. She presents as stoic, but she's anything but uncaring. She's very nuanced, but as the main character a good deal of the series goes into exploring her, so I won't delve into her complexities. After an accident as a teenager that left her in a coma, she gained the ability to see death in the forms of lines that act akin to the 'seams' of living beings, objects and even concepts. By cutting on these lines, she can kill anything.

Mikiya Kokuto is our male lead. An intelligent and excessively kind young man who became hopelessly infatuated with Shiki in high school, only to suspect that she was the one perpetrating a series of serial murders. When Shiki was comatose, he wound up working as a private investigator of sorts for the Garan no Dou agency, but continued to carry a torch for Shiki.

Touko Aozaki is our mentor character of sorts. More than likely the greatest doll and puppet maker in the world, Touko is also a mage and a lauded polymath, excelling in basically any field that proves of interest to her. She runs the Garan no Dou agency and employs Mikiya for his investigative prowess and later Shiki for her combat abilities as her sole employees. She's a chainsmoking girlboss who can be overly verbose and pretentious. Despite some unscrupulous morality, she legitimately cares about her subordinates.

Azaka Kokutou is Mikiya's younger sister who vehemently opposes her brother's relations with Shiki. Certainly the "4th wheel" of the cast made worse by the adaptation greatly condensing her chapter to laser in more on the Shiki and Mikiya dynamic. She apprenticed herself to Touko as a means of inserting herself into the workings of Garan no Dou. Azaka is smart, expressive, headstrong and funny. Touko is teaching her flame manipulation, as that's what she has the most affinity for.

I'll omit the antagonists here and encourage folks to watch the show as my little blurbs here give the jist of the cast, but really doesn't do them justice. The cast for the most part is really well characterized and much in Nasu's style, even when he plays to a trope there's a lot more to it than that.

What Exactly am I in for?

So, there's (depending on your definition) 8-9 films and a few ~10 minute OVAs. Unfortunately, the light novels have never been localized and there's only an incomplete fan translation and a somewhat inaccurate machine-assisted translation.

The film series adapts every part of the series except the side-story Final Record, albeit Azaka's chapter, Oblivion Recording, was greatly altered for the film adaptation.

The main series ran from '07 to '09 and includes episodes 1-7 and the Epilogue. Future Gospel and the OVAs came out in 2013 and they're a few side stories with the main act functioning as an epilogue of sorts to the epilogue.

So, the films post their position in the timeline at the end of each instalment, but I'll post them upfront here for the purposes of making it easier for one to keep track and using this piece as a guide.

I - Overlooking View (Sept '98) A series of suicides committed by schoolgirls jumping off of the roof of an abandoned apartment building catch the interest of the members of Garan no Dou. Some supernatural effect causes Mikiya to fall into a deep sleep and when Shiki investigates the building, she sees the ghostly figures of eight girls in the sky.

II - Murder Speculation Part 1 ('95-'96 schoolyear, ending in March) Mikiya becomes classmates with Shiki, who he immediately becomes infatuated with despite her less than accommodating personality. A series of murders happen in the city and Mikiya, suspecting her to be the perpetrator, tries to prove her innocence.

III - Remaining Sense of Pain (July '98) A young woman is viscously assaulted and the perpetrators are turning up dead, their bodies horribly mangled. Garan no Dou is presented with the case, but due to Touko's monetary problems, Mikiya resorts to freelancing in the short term. Shiki intends to put the murderer down, claiming them to be similar, albeit one of them is out of control.

IV - The Hollow Shrine (June '98) Shiki awakens from her coma after the accident, feeling hollow due to what she lost and now possessing the ability to see death. Mikiya is barred from visitation, as it's restricted to the family, so Touko sneaks into the hospital to check on her and takes immediate interest in Shiki's new perceptive abilities.

V - Paradox Spiral (November '98) A young man murders his mother in self-defense and winds up being helped by Shiki. Mikiya investigates some suspicious tenants of an apartment building that Touko designed and some old associates of Touko's are in town, one of them with a bone to pick.

VI - Oblivion Recording (January '99) Garan no Dou is asked to investigate a suspicious suicide at Azaka's boarding school and some lapses in memory around the incident in question. Shiki is dispatched, much to Azaka's displeasure and the two work to uncover a mage using fairies behind the two events.

VII - Murder Speculation Part 2 (February '99) Shiki, feeling perturbed, hasn't been frequenting her apartment. Meanwhile the serial murders from '96 start back up. Mikiya, trying to prove Shiki's innocence, begins investigating a drug ring related to the incidents and the events of the unsolved '96 murder cases finally come to light.

Epilogue - The Boundary of Emptiness (a few weeks after the events of Murder Speculation 2) Two people have a fateful meeting where they discuss some particulars of the events of the series, metaphysics and philosophy. It's literally a half-hour conversation. It's classified as an OVA, but it's almost as long as The Hollow Shrine.

Future Gospel (August '98 & Summer 2010) A serial bomber with the ability to see the future winds up targeting Shiki after proving unable to kill her meanwhile Mikiya has a chance encounter with a girl with a similar ability. Later, an elderly woman who tells fortunes attracts the negative attention of a crime syndicate.

Future Gospel - Extra Chorus (After the events of the summer of '98) A series of short vignettes, about 10 minutes apiece. Shiki takes care of a cat. A girl feels guilty over the death of her best friend. Mikiya and Shiki celebrate New Years.

The Future Gospel stuff, being a side story has a very different feel than the main series (I blame most of the events happening during the day and it being notably less gore-y than the earlier parts). But it's still a very fun watch. In a lot of ways it acts as a means of tying the series up in a bow with a nice "10 years later" segment and some flashbacks to the '95 school year. If you're going to skip something, skip it, but seeing as you've presumably made it that far already, you deserve a treat because it's just fun.

But yeah... this is my favorite anime series. I just finished a rewatch last night and felt urged to type this up. Hopefully it helps people or encourages folks to give the show a try if they've otherwise felt daunted.

[acquired-stardust]

Anime Spotlight #1: Sonic the Hedgehog OVA (1996)

Acquired Stardust's spotlights expand into the realm of anime! Join Ash as she takes a look back at 1996's Sonic the Hedgehog OVA, a fitting first entry in our anime spotlight series, bridging the gap between video games and anime.

In many ways the story of Sonic the Hedgehog mirrors that of developer Sega's due to how indelibly linked the Blue Blur's meteoric rise into pop culture relevancy is to the company at large. Sonic the Hedgehog, much like Sega, went from the cool new contender rivaling Nintendo's dominance in the early 90s to an underdog by the turn of the century, to an example of just how harsh the shift from 2D to 3D games could be to video game developers that struggled to make the transition with as much acclaim as Nintendo had, back to a beloved alternative underdog in recent years that represented a very particular style and sound that you couldn't find just anywhere else.

It's easy to see why Sonic the Hedgehog had such an impact in its initial boom period (which lasted roughly 8 years, from 1991 to 1999) with the strength of the creatives involved and inspirations evoked. Brandishing a visual and auditory edge along with its gameplay and level design that many considered on par with Nintendo's Super Mario, Sonic the Hedgehog helped propelled Japanese video game developer Sega into unprecedented heights particularly in America. Hot on the heels of 1993's Sonic CD and 1994's Sonic the Hedgehog 3 (& Knuckles)released on the Sega CD platform, 1996 saw the release of a two-episode Sonic the Hedgehog original video animation in Japan (that's OVA for those unfamiliar with anime terms, meaning a popular release method that's a sort of direct-to-video release rather than airing on television or in movie theaters). It was also compiled into a single 53-minute video and dubbed by ADV Films when it arrived in America in 1999, coinciding with the release of Sonic Adventure.

Immediately apparent is the retention of many of the elements that made Sonic so popular in this era. First you have the art style of Sonic CD, recreated faithfully by Studio Pierrot (also responsible for animating shonen anime classics Naruto, Bleach and Yu Yu Hakusho), with the even higher animation quality than the animated sequences of the then-new video game afforded by the budget of OVA format. There's also the soundtrack composed by Mitsuhiro Tada sporting an incredible blend of synthesizer, drums, keys and horns that's still stunning to this day and tragically never released in any official capacity (though an early production reel of the soundtrack, including its clever and catchy main theme sung by Riyu Konaka, was leaked in 2020 thanks to a Russian Sonic fansite). There's also the story and cast, an unthinkable (in 1996) teamup between Sonic and friends with nemesis Dr. Eggman rounded out by a few original characters such as the charmingly feral brat Sara, notably being the first instance of oddly human (or at least in this case humanimal) love interests for Sonic.

As previously mentioned, Sonic OVA nails a lot of things about the series that made it so popular at the time including the portrayal of its lead characters. Sonic has his cocky coolness, Tails lovable kid genius with plenty of vulnerability and Knuckles has both all the toughness and silliness one would expect. Aspects of all three of these characters would come to be either lost of hyperfocused on in the years to come and it's pretty great to have a piece of media capture the protagonist trio in such robust detail, with each character getting several moments to shine and their own significance in the events of the OVA as opposed to being ultimately completely beholden to Sonic to save the day.

Another retention from the video games of the time is the action and sense of speed with Studio Pierrot having done a wonderful job animating not only several sequences of traversal straight out of the Sega Genesis games complete with cameos of enemies along with several impressive fight sequences, as well as a few small instances of impressively thought out interaction between both characters and environment. In terms of the story and animation it's clear that the people involved in the project really understood the assignment and never phoned it in or lost sight of what they were doing.

While a wonderful snapshot of the series at the time, Sonic OVA also features a few interesting elements that look to the future. Planet Freedom, the world in which the characters inhabit in this particular incarnation of the series, features a distinctly New York City in post-apocalypse locale that would later come up again in 1999's Sonic Adventure on the Dreamcast. Sonic OVA also positions Tails and Dr. Eggman as more direct rivals than previously seen, which would come to be a staple of the series starting again with 1999's Sonic Adventure. Sonic OVA is not entirely without its own quirks that would not be retained however, most notably referring to Knuckles as a mole and seemingly giving him the ability to outright fly as opposed to merely gliding.

Some may find the English cast to be annoying, but personally this is my favorite casting of the characters and the voices I always associate with them - they're teenage (and in the case of Tails, a child) cartoon animals after all. Regardless of which language you choose to watch in, Sonic OVA is a fantastic time and an interesting snapshot in time that effectively communicates why a lot people had so much fascination with Sega's Sonic the Hedgehog in its prime. It's also not everyday that this era of Sonic's music, largely featuring reworked compositions of Masato Nakamura's band Dreams Come True and later various songs by Michael Jackson (itself an interesting footnote of Sonic development lore), manages to feature tracks that stand up to the mainline games' quality, but Sonic OVA definitely includes a few songs that will stay with you and it's a shame that until recently the soundtrack has been almost completely ignored by Sega.

A gem hidden among the stones, Sonic the Hedgehog OVA is undoubtedly stardust.

-- Ash

[b-else-writes]

The Great CLAMP Re-Read Part 3: Tokyo Babylon

Part 1 (RG Veda) | Part 2 (Man of Many Faces)| Part 4 (Duklyon) | Part 5 (Clamp Detectives)| Part 6 (Shirahime)| Part 7 (X)| Part 8 (Chunhyang) | Part 9 (Miyuki-chan)| Part 10 (Rayearth)| Part 11 (The One I Love| Part 12 (Wish)

The CLAMP 90s series. Perhaps their greatest work ever. Tokyo Babylon ran from 1990 to 1993, concurrent with RG Veda, the CLAMP School, Shirahime, Chun-hyang, AND X. It makes you wonder how X and Tokyo Babylon shaped each other (but more on that later). Tokyo Babylon (and X) is also set in the same universe as the CLAMP School reflecting CLAMP’s early interest in crossovers. Planned out as 7 volumes, it consists of 11 big stories and 3 annexes. I read the omnibus versions which contain lots of coloured art, but the original print run is a beauty in 80s and early 90s graphic design.

While I'd never read this before, it's famous enough (two OVAs, a drama CD, and a live action movie), that I went in knowing some of the big spoilers, but not details. So while my reading was coloured by the knowledge of its tragic end, it still felt revelatory to me. It is the first CLAMP work where I think they had gotten their storytelling pinned down enough to consciously think of how to write a story that ties together on a thematic level, in every stage, and it's phenomenal. Heavy spoilers.

Synopsis: Onmyoji and thirteenth head of the Sumeragi clan, Subaru Sumeragi is called upon to solve occult mysteries in post-bubble Tokyo. It's a time of glittering lights, a rotten economy, and city populated by lonely people desperate for an answer to their problems as the millennium draws near. Joined by his fashionable twin sister Hokuto and the kindly but strangely sinister vetenarian Seishiro Sakurazuka - who is in love with him - the overly sacrificing and empathetic Subaru must solve these problems and learn how to live - but Tokyo is not a kind place, especially to those with gentle natures.

The Story: On its surface, Tokyo Babylon begins as a "case-of-the-week" style story, where Subaru has to solve an occult case and learns something. Its a deceptively simple premise that allowed for CLAMP to explore pressing social issues of their time (which still feel resonant due to the sensitive way they explored them), while also building upon Subaru's character development through this, and the suspense of Seishiro's true nature. We observe Subaru grow through his failures and learn more about the limitations of his empathy. No case feels pointless in how it develops Subaru as a person, and his relationship to Seishiro. The dread we feel about Seishiro's connection to Subaru grows that we almost believe we might just get out of this. It's just excellently plotted out.

The comedy is well-timed and CLAMP know when to pull back from it to allow the emotional aspect to come through. Every case is incredibly gripping and I even cried reading "Old". I have seen some suggest it would have been more effective to have a massive twist rather than seed Seishiro's psychopathy throughout, but I actually think this works on a thematic level, and finding out Seishiro is a murderer, the bet, and Hokuto's death, still hit like a gut punch. It's a brilliant usage of seeding information without the full context until the end. I have no complaints here. It's a poignant story of Tokyo in the early 1990s and its destructiveness, while never losing its humanity.

The Themes: Do you know why the cherry blossoms are red. Tokyo Babylon is a story about well, Tokyo. It's about how modern city living that pursues only personal gain and conformity leads to human loneliness, and loneliness is a trap that destroys us all. We can never know someone else's pain, which leads to loneliness - but to recognize that is also freeing because it means we cannot judge and be judged for it. Having empathy is good, but too much and for the wrong people and not for yourself, can only lead to death. Subaru forms his self-identity through others, in contrast to his self-actualized twin, remaining aloof and detached from his own self - this is why Seishiro's betrayal breaks him, because Subaru doesn't know how to live as his own person. It is also what causes his loved ones so much harm in how little he loves himself in comparison to others.

Its a fascinating interplay between community and individuality, the reality of modern life of trying to be someone while also needing to generalize, without ever really settling on either side. Hokuto is right that they're not the same person, but Subaru is also right that they are deeply connected, as all people must be. Where it does come down hard is that humans are not the villains but Tokyo is, in what it represents - greed, selfishness, cruelty, and apathy. "Things like this happen in Tokyo everyday". It is intensely tragic and yet, strangely, incredibly life-affirming. Despite everything Subaru suffers, people are not born and made evil and everyone should be taken for who they are, not a faceless mass. Including ourselves.

The Characters: Like the plot, everything in the characters is tied into the story of Tokyo. Seishiro is Tokyo: the slick, cool-cut well to do man in a suit with no empathy and a taste for violence. He's Subaru's mirror - charming AND connected to people, and yet not. Nobody is special in Seishiro's eyes, nobody deserves to be treated as anything but an object. And then we have Subaru, poor sweet Subaru who is so empathetic and yet so detached from the world and himself because he's so focused on only his job, on not being an individual. He is what Tokyo wants him to be, filled with self-loathing and frankly suicidal impulses that he shouldn’t be alive if others are not.

It's so tragic to watch Subaru finally grow into a person, but to do so to the one person who will hurt him. Subaru wants to to love Tokyo so badly, that it kills his sister, the one person he SHOULD have been pouring his love into, the person who could love him back and expect nothing in return, the person who would allow him love while not dissolving himself in it. And Hokuto is just a showstopper, funny, kind, witty and cool. She's Subaru's northstar, the empathy and humanity where he cannot, almost co-dependent. I love characters that reflect one another and the themes.

The Art: The visual storytelling and panelling are fantastic. Tokyo Babylon offers a sparser and more distinctly black and white look than RG Veda, with a stronger emphasis on emotional paneling that breaks into beautiful spreads. It creates an almost wood-block, timeless appeal (despite the fashion) that is neither too busy nor too simplified. Anything to do with the Bet and especially the finale is incredible. Subaru surrounded by cherry blossoms? Haunting. The fashion is impeccable, I love the bold design choices in the covers and spreads. The character designs in and of themselves are quite simple (and I don't love the seme-uke look of Seishiro and Subaru), but the personality-costuming is so well done and tell stories themselves. And the use of Hokuto and Subaru being identical to conceal the twist? Masterful character design. My only complaint is some of the scanned photo backgrounds are jarring against the lovely drawn art.

Questionable Elements: Subaru is 16 and Seishiro is 25. That being said, I do think from their interviews and the actual text, we aren't meant to ship them, and it's not unrealistic to be a teen and fall for an older person only for it to majorly fuck you up because they abuse their greater knowledge to harm you (which hey, might be a theme!). Some of the way issues are handled is dated, but not too badly. Again, I’m not going to comment on whether this is queer representation or not, since I don’t think that has ever been CLAMP’s intention. Despite the stereotypical seme and uke stuff, the relationship feels real and tangible (which is why the payoff works). My real gripe is Hokuto getting fridged, though it's handled better than expected (still. let's stop killing women to make men sad).

Overall: A beautiful tragedy and an ode to human alienation, identity, and empathy. I went into this expecting to like it, and ended it never the same. It is genuinely a fantastic, fully complete thematic work from them that speaks as a reflection of the time it was written, and yet remains resonant. I know some people find it edgy, but I actually don't think edge is its intention, it's dark and it's tragic but never misanthropic. Yes, Subaru enters the adult world broken, but his refusal to become like Seishiro and to continue to count himself amongst humanity despite everything, reaffirms that life and people have value (notwithstanding his behaviour in X).

You can see so much of their ideas crystallize here that they’ll repeat across X, Xxxholic, etc. We're all just lonely people and we hurt each other in our loneliness, and it's important to recognize that in ourselves and take care of ourselves for it. We have value as individuals AND through others. Read it!

[yaspup9000]

had a dream about an extremely violent and obscure OVA about Earth’s history however the segment was about dinosaurs. Tbh maybe it wasnt like too gruesome but there were some scenes that made you go, “damn!”

This anime film looked like it came out in early 90s or late 80s and there was some scenes that was seen as too graphic yet oddly artistic ie an example of a brontosaurus getting hit by lighting and when it fell down it transformed into a tree that had been falen. Also another scene where when the astroid hit in a bit of a cartoony way both Prehistoric aquic life and land life punches each other and other bits of astroid as they turn into fossil. And then it transitions into a cave where a bat flies out of it.

oddly enough there was a bit of a land before time refence in the astroid scene but its one of those blink and you miss it also there was a narrator who sounds like professor oak in the old pokemon animes (ie the little bits where he showcased a pokemon and gets injured)

Thought it would be interesting to share and all.

[cacaitos]

2023 manga list:

most of the manga i read this year. more or less around 90, but that's also counting short stories, and things i omitted.

bottom text.

beastars/beast complex [3/5] beastars as an action shonen (or a story anyway) is all over the place so don't get your hopes up to much on that front. beastars' main consistent strong point is being Horny and Weird. i've said that sometimes it doesnt compromise with the logical terms of its premise but exploring a variety of odd relationships is imo the most interesting and engaging element of it anyway.

chainsaw man [4/5] overall is a mostly normal shonen if you were expecting for something more alternative. to be honest a lot how you would feel about Pt 1 will be told by how you feel about having very consecutive character deaths, it can feel a bit rushed. but it is indeed a bit distinctive abt how it tackles the topic of intimacy/relationships esp predatory ones in jump-type shonen. can't complain too much on that front. fire punch [3/5] once the berserk-type edgyness aside on the story is aptly entertaining, tho by some stretches it can be disorienting plotwise, in a negative way. it drops Lots of plot points or rushes them... you can really grow to like some characters but there will be a point -you will know- that it just kinda disengages w you. Curious existential ending. good if you're bored.

golden kamuy [3.5/5] also more typical shonen-esque than i expected. it never gets That Much Dark imo, as in total slow downers i mean. although obviously it is 'dark' more on the bizzare part. fun characters.

kaze to ki no uta [4/5] to be honest it does live up to the reputation of making you generally emotionally Unwell. but on my experience the development of gilbert and serge grew more engaging than I expected. tragic banger. terra e... [3/5] also was more than i expected since the one time i tried with the anime i got bored 1 ep in. but the story and tomy as the mc also gave me more heartfelt emotions than I expected. the pacing and amount info conveyed can get exhausting tho. didn't care much abt the ending. natsu e no tobira [2/5] the ova is gorgeous so it has those points on its favour. otherwise the ova and the manga are almost identical. youth and death themes and all i did Nawt care abt that pedo woman. weird story to develop that shoujo theme abt allowing ppl to see your vulnerability but eh i'll take it.

YAMAMOTO: ichi the killer [3.5/5] frenetic and entertaining enough if you're willing to go through knowing the tw's. suprisingly fast to read. if you're looking for the yamamoto Experience, it's a must after hommunculus. voyeur/voyeurs inc [2/5] got awfully disappointed w voyeurs-inc; i got hooked on voyeur (ie the prototype) but the change of cast on inc was a total letdown. don't think it's worth reading of you're a ymmt casual. maybe just the prototype. okama report [0/5] don't even fucking bother. barely passable even for anybody that's very into ymmt. adam & eve [2/5] shit story, curious fights/interactions.

KATSUHIRO OTOMO akira [3/5] a lot of the military and persecution sequences get so annoying and boring sometimes but if you forget abt the adaptations it's a decent enough scifi-action thing. the movie is better at that. the relationship between kaneda and tetsuo- dont like rn to pit which of the two did it better, but from the movie to the manga it's deff not a letdown, especially for tetsuo that has a lot more time. he's interesting. domu [2.5/5] interesting action wise, but as for story I wouldn't bother. kanojo no omoide (memories of her) [3/5] ootomo himself said some of the stories are quite meaningless and nonsensical lol but if you've seen the Magnetic Rose ova you will like some of them. world apartment horror [3/5] 1st didn't care about. liked 2nd. 3rd i didn't get shit. 4th it was cute. visitors [3/5] liked it. short piece/short peace [3/5] i liked it. highway star [3/5] feels like that suicide episode of paranoia agent, that kind of humor lol. boogie wogie waltz [1/5] uncomprehensible. good weather [1/5] eh.

houseki no kuni [4/5] it isn't getting better, the tragedy doesn't stop it's not an understatement. whoa.

dorohedoro [3/5] entertaining seinen, tho sometimes it gets kinda confusing and convoluted. love the characters theyre fun :)

ajin [4/5]

i was surprised that it was a closed off story from what i expected coming from the anime haha. neat action panelling and art. I get the feel that some characters had more to give and develop, but not disappointing.

OSHIMI SHUZO flowers of evil [3/5] the romantic triangle didnt bother me as much as i expected. it is a weird manga know that up front. i'm inside mari [4/5] i quite liked it and was quite surprised abt that fact lol. blood on the tracks [4/5] good family drama at leaston my year'sranking; shuzo's art style does wonders and is v immersive. some said that it felt repetitive and while i can say at some point the went a bit ehhhh, but reading it all back to back instead of weekly i don't feel it's that draggy. backwards i think it could've used more chapters, or content rather. happiness [2.5/5] tbh got disappointed, kinda disperse. like half 1 and 2 don't have much to do... okaeri alice [2.5/5] some individual characters really do make the manga endurable but some bits from the main characters are so...? unnecessary, or unnecessarily long at least. not really shuzo's best work. avant-garde yumeko [-/5] odd.

NAGABE totsukuni no shoujo [4.5/5] i mean, for most of it that i can describe it well with heartwarming but bittersweet, about parent-child relationships, love, loneliness, sacrifice, it's pretty good at that. then It Gets You. monotone blue [4/5] refreshing bl, sweet, the art delivers and the sensitivity. and i say refreshing bl bc it's not weird abt sa or adjacent harrassment.

i read most of his shoujo works, but they're too many to mention if you liked totsukuni you will like them, nothing to lose. some uh moral objections on some..EAT [-/5] it's okay. if you don't mind horny furries. SMELL [-/5] errr..... ok.

RYO SUMIYOSHI/SUZURI MADK [2.5/5] good art as always. more fucked up background things as it goes on but the mako-J thing is kinda crayzay. it has some hasty character developments at important times... torso no bokura [2/5] also good art, nothing too upsetting if at least relative to MADK. kinda enjoyable and entertaining anthology.

NEMUI ASADA sleeping dead [3/5] imo asada's overall best work, or at least to beginners or if you plan to read just one of hers. since the translation of the work is not finished i don't wanna assume the ending, but the starting premise is interesting enough, although we're currently on a less eventful note plotwise which can feel a bit disappointing for the moment. my little inferno [1.5/5] not particularly interesting conceptually, or writing. madara moyou no yoi [1.5/5] noticeable premise for an asada work, it being more action oriented i mean, but it's still to early to say in execution. SKIN [1/5] what the hell. that's asada for everybody/ dear, my god [1/5] odd ending. didn't coincide with how the story was handling at least the preist, imo. i literally don't care about the cactus story. CALL [2/5] surprisingly not so harsh of an asada story. more of a normal kind of depressing bl. ai, sei [1/5] don't mind in any particular direction. loved circle [1/5] did not care for the setting. not as dark as you would expect but not particularly interesting either. whatever ending. to the sea [1/5] ...? that happened i guess.

hikaru ga shinda natsu [3.5/5] it's a manga that has earned a reputation and a set of expectations that (i haven't caught up w latest ch) that delivers on the visual and effective ambientation, but we're to see on the story but good so far.

double (noda ayako) [4/5] veeery expressive art from noda. if you let it be as a normal acting manga it can get you by surprise on some emotional beats. better go in with low expectations, different tastes and all.

my broken mariko [3.5/5] it's a short story, solid. gorg art that adds to the sorrow and bittersweetness.

gunjou [3.5/5] hmmm it can feel a bit repetitive the back and forth at several points of the story, depends of how you read that related to unstable relationships. i don't necessarily want to brand it mainly as a GL but all in all its still one of the most interesting entries on it, with a toxic relationship that commits to the complexity of the situation.

gunjou gakusho [2.5/5] a melancholic anthology with beautiful art. i got to like a pair of the stories.

omoide emanon/sasurai emanon [3/5] personally i preferred omoide emanon (the one the mangaka said was Twitter for people unfamiliar w emanon) and i prefer the lineal story tbh. sasurai ones can be hit or miss, some feel incomplete? or unconcluded. i mean sasurai was cancelled midway so.

bibliomania [2/5] cool art, intriguing initial premise and execution, but i didn't find it particularly interesting by the end part, like thematically.

banana bread no pudding [2/5] didn't care for the main relationship itself, but the protagonist ended up being more engaging than i expected. a mostly soft and bittersweet read, but i would wait ot read more of the author's works to say how recommendable i would rank it as.

petshop of horrors [2.5/5] the individual stories can be hit ot miss from one person to another but imo D is very consistently entertaining and likeable lol.

higashi nishida [2.5/5] not much consistency but they have a nice undertsated feeling personally :). some of its introspection catches you off guard. no high expectations though.

kodomo wa wakette agenai [3/5] it's a nice short story, it's funny if you don't come in expecting loud knee-slappers types of jokes. it's good if you're looking for something light to read.

she loves to cook, she loves to eat [3/5] also good if you're looking for something light to read.

tamen de gushi [3/5] wholesome as you would expect. nice art on later years. depends on your taste.

my solo exchange diary [4/5] actually liked and grew to appreciate the author's organized narration style. it avoids a lot of confusion and she verbalizes her feelings in a relatable way for somethings sometimes so awkward to say out loud.

seibetsu x [2.5/5] this one is much less organized temporally and thematically so it can get a bit confusing, but it's funny on it's own, since the author is very blunt on their feelings lol.

killing stalking [3/5] less Evil than i remembered, just as disturbing, just as mid ending as i remembered. maybe it's bc of being a reread -that helps pick some things better- but reading it out of the heat of the moment in its era it's not as ill intended or deliberately romanticizing as one might have led to believe; it understands that much at least. visually however, still often leans into more eroticism i call inappropiate and unncessary.

boy's abyss [2.5/5] it's a manga that drags and wanders aimlessly too much, it gets repetitive. there are some plots and elements i consider more consistent and interesting, like the family, predatory relationships and the town's seeming unescapability themes, but the suicidal thing gets a bit exasperating when it just goes nowhere. dont expect tooo much. kinda good to binge tho.

himegoto, juukyuusai no seifuku [2.5/5] if you see the premise i know it sounds kinda weird but as i said when i read it my only comment abt is that it's suprisingly more compelling than one would expect, if you dont question much the individual prompts. gets kinda heavy by the end w on character tho.

yuureitou [2.5/5] sometimes entertaining on an adventure mystery type thing. theme and writing quality varying for the first 2/3s, off it's shits by the third that's kinda ehh conceptually. read it for some crazy shit ending. trans-wise, on the mc side, well they're some consistently annoying things all throughout but technically good intentioned but the ending 1/3 is v transmisogynistic, heads up.

uzumaki [2/5] ito's art is good. didnt really get me going much but not hated reading it. didnt get the ending, or didnt like it a lot at least.

fetish, kaoru fujiwara [2.5/5] takes a turn in seriousness by the 2nd story. 3rd story is so 😖 err, and then the rest go down in tone again.

the view beyond, kaoru fujiwara [2.5/5] one of those wouldn't that be fucked up stories. like that sure happened. not precisecly im even a fan of the message of the premise, even if it's technically showing it's horrible results.

raise wa tanin ga ii [3.5/5] t'was funny. all in all, esp towards the last chapters their interactions turn more earnest, personally, than i expected.

crying freeman [2/5] major saving grace is the art, it's pretty good. dunno, it feels however you feel about edgy 007-type 80s stories. personally didnt care abt mafia-clan thing substainance plots.

devilman lady [2/3] lot's of SA till it gets a bit unbearable and boring, heads up. did not care about most of the plot itself but if you liked the og devilman characters, the mains of Lady have the same likeability. save from The Horrors of the end. -shin devilman [1/5] boring. don't lose nothing over not reading it. uh. that first chaper uh.... -amon - devilman mokushiroku [1.5/5] edgy in the usual way dvm is edgy in that usual measure,s o the story is nothing to die for lol. good art (save for Things) and cool visuals, body horror, etc more than anything. the silene storyline is the more interesting part, the other idgaf about. -neo devilman [2/5] it's an anthology. seeing different artist's takes is entertaining enough. usual dvm edgyness. -devilman saga [0/5] boring dear god. not one saving grace of entertainment even for a nagai dvm work.

tetsuo the bullet man [1.5/5] shot for shot as the third tetsuo movie. i liked the manga and its ending more than the movie's tho. not like the movie is good anyway.

dog ningen [1/5] don't let the premise scare you, it's pretty mild. and amateur. and boring.

[nanjokei]

i know ive said it before a few months ago but even though i dont go there i feel like people are pretty meanspirited towards genshin fans. obviously one of the biggest games around is gonna attract people who are new to geek ish shit like video games and anime. which means its likely their opinions are likely to be unseasoned. i think theres an entire world that exists for teenagers and normies with smartphones that we arent seeing, maybe its a generational gap idk

like the people who are super into webtoons and genshin and god knows what else, younger people and normies, lack the etiquette that was basically beaten into our brains through years of frequenting forums and microblogging social sites (livejournal, tumblr) (this is a lie because most people lack etiquette to begin with) so they act unbecoming, get into fights, make claims about skinny twinks being daddy or whatever. mostly cuz they know nothing else. is it annoying? yeah, but it feels meanspirited to write all of them off, and all of genshin off. i dont play it, i tried it close to launch and found myself completely disinterested so after not even completing the tutorial i ended up dropping it, but i have a lot of friends who are normal and find themselves enjoying it unironically and theyre surprised that they do due to the overly exaggerated reputation it has. im just speaking in general, of course they have the same issues a lot of people have with genshin, in fact i think most people who Actually Play Games would...

in general i dont get the catastrophization of genshin. i feel like so many people attribute things to it that dont make sense, like how suddenly all anime character design, especially fantasy, has gotten worse. my own feelings on the designs is pretty neutral. but at the same time its like, a fucking anime game, idk, i dont have feelings on it to begin with because it just looks like most other anime games but hoyoverse flare is hoyoverse flare.

to begin with i don't think hoyoverse is to blame for fantasy designs sucking. i think that is completely dishonest to suggest. as a fantasy fan, i think that its an issue of decay and lack of interest in the genre. i wrote about my feelings in isekai before (hint: mostly positive) but its a fact that most people have no interest in fantasy anymore. its seeing a slight genuine revival recently, but i feel like most of people's exposure is from isekai that take a very minimalist and "modern" sensibility to the designs so as not to be cringe and over the top. here is a google search i did in november 2022 with the search term "anime elf"

i mostly use this cap to show that 1) this is an issue ive been concerned about consistently and 2) if you search "anime" anything these days you get a lot of ai art and that is just noise to me in this context. by the way, in nov 2022 if you searched "90s anime elf", the results are entirely deedlit lol. she's very pretty, and every anime aesthetic page on social media is eager to reshare her and erroneously go "80s anime is the best 😍😍😍" you know, the ova series and tv anime that came out in 1990 and 1998 respectively. its just a complete and utter lack of disinterest in the fantasy genre all around that leads to fantasy anime being swallowed up into nothingness and not being present in any zeitgeist. even tales of, a series that seemed inseperable from the conventions of the genre, has forsaken it. the super tropey anime fantasy jrpg doesn't exist anymore. even fire emblem keeps hiring artists that have no business designing characters in a medieval setting (kozaki, kurahana, pikazo). granblue FANTASY has entirely shed its final fantasy tactics inspo aesthetic and is increasingly releasing more characters distant from those sensibilities.

anyway, my point is that for over a decade now fantasy as us nerdy 20 somethings grew up with has been considered owakon and blasé. nu anime fantasy is either informed by wanting to smooth out the fantasy element as much as possible (see: rezero's character design sense. i have no comment on the story itself) or inspiration from anime MMOs that usually had more simple armor and clothing designs for most players who didn't pay up. its a whole issue from top to bottom, and frankly genshin has nothing to do with it. there are modern series clearly made by people who love the fantasy we grew up with. even those that have a different world view, like tensura, lampshades the protagonist's view of fantasy to the world he actually ended up in.

if anything genshin at least feels like its calling to SOMETHING. im not sure what, to be honest i dont really get the design thoroughline of it, and a lot of the designs are overdesigned, but i think some designs do feel reminiscent of a more familiar fantasy aesthetic (venti comes to mind).

of course its true that a lot of young artists take inspiration from genshin, you know, its one of the most popular games in the world, its like mind boggling hearing how big its install base is, but also i keep hearing that it had some kind of ripple effect on all character design in every game and anime ever. can anyone actually show me like even 3 examples of this? like, be honest with me. is that not peak catastrophizing? game has barely been out for 3 years, its not really enough for its ripple effect to suddenly change the world.

what you are complaining about is an issue that has been an issue since the 2010s. maybe you are only noticing it now that you have a new mediore hatesink to invest in. anyway yes this mediocre and halfhearted defense of genshin's fans was an excuse for me to rant about fantasy as a genre being on its death throes and how people are misattributing the tragedy to rant about some mediocre anime gacha game. i hope the recent popularity of series like dungeon meshi and frieren (i mention them bc theyre currently airing right now) makes people remember that fantasy can be good and pure soul. i hope we get a real tales of game soon also.

if you read this far please let me know what you think even on anon. its a topic that greatly interests me (anime fantasy, not genshin, i have nothing to say about genshin)

[magicalgirlagency]

You know of Crayon Shin-chan too?!? No way, I thought I was the only one who knew of it!!

Indeed I do! It's one of my core memories! I've watched three english dubs of it, too. There was even a reference to it back in 90's!Sailor Moon, back when it was at its peak. It's quite popular in Japan, and is still on-going even after the author's passing, much like Doraemon.

Though I really wouldn't recommend it to lots of people, since it's a product of its time and plenty of its jokes and gags have aged like milk, not to mention how some of its topics aren't exactly kid-friendly; but it's something that I certainly hold dearly in my heart.

I also remember that they have an in-Universe Magical Girl anime entitled Fushigi Majokko Mari-chan, which it was about a clumsy young witch travelling to the Mortal Realm as a second chance to prove her worth after failing in her magic exams (as well as accidentally transforming her little brother into an otter). The fact that this isn't a real anime is an absolute travesty in my honest opinion.

The artstyle is quite unusual and quirky, which it's a fresh breath of air in animanga in general and I love it when they get experimental and don't adhere to conventionally captivating artstyles; not to mention the animation that occasionally fucks hard in its specials and movies/OVAs, specially when Masaaki Yuasa is at work (you may know them from The Tatami Galaxy, Ping Pong: The Animation, Devilman: Crybaby and that Adventure Time episode Food Chain, just to name a few).

Oh, and one of my many dreams is to at least try those Chocobi cookies, which are Shin-chan's favorite snack. Yes, they exist in real life:

They're up there with Naruto's Ichiraku Ramen to me.

[kirnet]

🔥 :D

DING DING you are the winner of my blue submarine no 6 rant!!

For context: blue sub no 6 is a 4 part OVA from the nineties about a post apocalyptic world that was intentionally flooded by an evil scientist, leaving the vast majority of humanity dead and the rest living the best they can on the water. It kind of sucks? I am now obsessed with it. No one will know what the fuck I’m talking about.

Because there is only this OVA and an untranslated manga from 1967 that I can’t track down, another 5 part manga from the 90s that i dont think was translated either, and two untranslated video games, I am forced to scrounge the bottom of the barrel from fucking reddit for any sort of discussion. The following is my response to those overwhelmingly negative reactions.

All of the characters get criticized as shallow, which to some degree I can agree with because it is a short series (about 2 hours) with a lot of characters, but I think a lot of it is just a blatant refusal to engage with them in any meaningful way. Hayami isn’t a jaded asshole just bc his friend died, he’s a jaded asshole bc his trigger happy impulses directly led to his friend’s death! Because he’s actually a super sensitive and compassionate man as shown in the series even when he doesn’t want to be!! He’s an addict who has to self medicate to ease the pain because he cares SO MUCH. And a lot of blue sub’s characterization and world building is subtle, not a lot is really told to you. It has these beautiful moments of silence that just show you character and worldbuilding, which people hate bc I guess it confuses them? Did they pay attention?? And yes a lot of the other characters dont really get a lot of depth, but they still feel like real people in the little moments you get with them. It feels like a fleshed out world with real dynamics and real people that you were just dropped in the middle of, which many won’t like, but I think its better than spoonfeeding you every bit of information.

People also shit on the ending, which I get it is actually not an ending. It’s a very open ended end with really no conclusion. I think that fits with the uncertainty of humanity going forward in this world. There’s also a lot of criticism of the villain, who unfortunately is the the weakest part of the show when he should be the strongest, but I think a lot of this is bc of the above reasons. He’s an ecofascist who thinks that there were too many people on earth so he sped up global warming and flooded the majority of the world. Idk, maybe that hits closer to home now than it did in the 90s, but real communities are threatened by the sea and there are very real perpetrators of climate violence. His motivation is weak and kind of non existent- which is a fault of the story, but also like. what actual reason is there to justify something like this other than he was a rich powerful guy who could? Again, maybe it’s just because I’m looking at it in a very modern lens and reading too much into it (I surely am), but there’s a reason it doesn’t really bother me.

I’m gonna stop here before I explode. I dont think i can in good conscience really recommend it to anyone? but if someone does watch please tell me please

[canmom]

Animation Night 176: The Hedge-Pigge Whin'd

Thrice the brinded Cat hath mewed, Thrice and once the hedge-pig whin'd, Harpier cries, 'tis time! 'tis time! - Macbeth

For the fourth time, Animation Night encounters Halloween. What horrors yet await us? Oh, there are....... many...

I'm going to keep this writeup pretty short bc (as is probably evident from the Posting lately) I'm not in the best of sorts.

The traditional Animation Night halloween goes something like this: a vampire-related anime, some Yamishibai, and something weird and different. Sometimes that leads to discovering some truly great and unexpected films, like Birdboy: The Forgotten Children (Psiconautas) by Alberto Vasquez. I had been thinking of doing Vasquez's Unicorn Wars tonight, but I decided to hold off to rewatch Birdboy alongside it in a week or two.

Other gems we've encountered have been the Chilean stop-motion film obliquely about a Nazi cult The Wolf House, the 'gekimation' works of Ujicha, the gorgeous one-man adaptation of Suehiro Maruo's ero-guro manga Shoujo Tsubaki, and of course Phil Tippett's 30-year magnum opus Mad God. There's a reason I look forward to Halloween each year.

Animation is a tricky fit for horror stories, particularly traditional animation. The stylised and clearly artificial presentation intrinsic to animation can be distancing and make it hard to make things genuinely scary - so if anything, a lot of horror creators benefit from a deliberately low-fi style, which avoids being too obvious with displays of technique. But animation of all kinds loves horror images and themes, from gory OVAs of the 80s full of rapacious demons, to what you could call 'spoopy' works like The Nightmare Before Christmas, Hotel Transylvania and Paranorman which play around with all the Halloween/Hammer Horror imagery - the Draculas and Frankensteins and so on.

So what's the recipe tonight?

Well, for our vampire anime, we have now worked through the obvious ones, so it's on to... the Darkstalkers OVA from 1997-8, adapting Capcom's series of fighting games. Though in Japan it's called ヴァンパイアハンター THE ANIMATED SERIES (Vampire Hunter: The Animated Series).

Fittingly for a late-90s OVA, this is full of crazy sick animation, notably including a number of cuts by Yoshinori Kanada. The story is basically: two vampire clans are having a war, but then aliens show up. Somehow that leads to battling atop exploding zeppelins. I'm curious.

For our Western Animation slot we have something by Genndy Tartakovsky (Animation Night 35). While Tartakovsky is best known for his 2D animation and hyper-simplified graphical style, he's also directed Hotel Transylvania in 3D. I was rather dismissive of this one at a glance apparently, but I've been told it's good and I mean, it's Tartakovsky right? I'm definitely curious to see how his style crosses dimensions.

Hotel Translyvania was created at Sony Pictures Animation, the studio that would later blow everyones' minds with Spiderverse. Their history is this: Sony, the international media and tech giant, had a visual effects studio called Sony Pictures Imageworks. They were considering selling it, but then came the wave of CG films beginning with Shrek, and suddenly the smell of money was in the air. So Imageworks was retooled into a studio for making feature-length CG movies. Their early films were pretty formulaic, but they gradually began to get more ambitious.

Hotel Transylvania, which depicts a hotel for monsters run by Dracula, has had a rough history, with Tartakovsky actually the sixth director to take on the project. His goal was to try and take the vibe of 2D animation, with its squash and stretch and variable timing, and bring it to 3D - a concept that was perhaps ahead of its time! How did he manage? Let's find out.

For our Yamishibai slot we have Yamishibai.

...ok, for those just joining us this I should probably explain. It's kind of like creepypastas for weebs. Yamishibai is a series of limited-animation shorts in the style of kamishibai paper theatre, telling short horror stories. In the first half of the 20th century, kamishibai performers would go around telling stories with illustrated panels, and the form was influential on the early days of manga. They're usually a blast so we'll definitely see a few of these.

...and, given the late start that will probably be all we have time for, but if we're in the mood, I can pull out a couple shorter animated horror works. Next week, we'll follow it up with Alberto Vasquez, revisiting Birdboy and also checking out Unicorn Wars.

Sound fun? See you at twitch.tv/canmom; we will start the spooky playlist soooooooooooooooooooooooooooonnnnnnnnnn...

[mostlyjustgoose]

something I realized a lot of fantasy/sci-fi media I’m drawn to (specifically media with a visual component) has in common: the world it shows you is a world that existed before you got here and will persist after you leave, and while the world and its residents will provide you with some information about what’s going on, it doesn’t care about acclimating your sense of logic.

like. that very first Star Wars movie, before the Force had rules and we knew what every single internal piece of a lightsaber was and every character had a hundred pages of lore? that was a world that lived and breathed and allowed its audience to pass through it.

Dark Souls and Bloodborne are pretty excellent examples of this too—more so, since their lore is vastly less codified. going further back, though, Ico and Shadow of the Colossus also threw you into worlds that let you wonder and imagine and puzzle out what lay beyond the crumbling bridges at the map borders.

there’s a shit ton in anime and OVAs and such I’ve seen, especially from the 90s and earlier. Vampire Hunter D is a great instance of the vibe. it has robot horses and vampires and werewolves and demons and lasers and magic, and fuck you, it’s not explaining a goddamn one of those things, it is expecting you to realize in a hurry that they are the status quo.

possibly my favorite example of this is Jim Henson’s The Dark Crystal. a whole other planet, with three goddamn suns, creatures that only vaguely resemble anything human, and the ruins of a recently-toppled civilization all over the place. what’s a Gelfling? what’s a Mystic? what’s a Skeksis? what even is Aughra? do you think The Dark Crystal has time or space to entertain those questions when there’s a prophecy to be fulfilled? why would you care when the Shard is so much more important?! when you enter these stories, things move according to their logic, not yours. your logic is barely even a concern. there are reams of information you’ll never know, entire countries you’ll never visit, implications whose full meaning you can only guess. and it’s wonderful.