Okay, I admit that this is one of my most click bait-style headings so far, since the word ‘Abandoned’ is probably a little too strong for some of these entries.
And so here’s the usual disclaimer – I’m not ruling out one day returning to any of these shows… one of which at least I am 99.9% certain I will finish.
Ideally I want to come back to this when (now that?) it’s finished, so I can watch more episodes back-to-back, since having a break between each episode at the beginning wasn’t working for me.
I think I’ve seen the first three, and despite being hooked on the premise and the unanswered questions, and enjoying the visual aspects, I don’t think I’m actually interested in any of the characters.
The Case Study of Vanitas
Might return to this one day as I was enjoying the world, but I found Vanitas too annoying for a lead character.
Once he upgraded from being just annoying to ‘dude that commits sexual assault at the first opportunity’ I groaned and not only because it didn’t play like a flawed character who will one day change, and seemed more designed to fall rather neatly within the ‘cheap thrills’ category.
The Detective Is Already Dead
Nearly finished the first episode.
Might try to take a second look one day, as the premise caught my attention to begin with.
99.9% sure I will finish this sometime during 2021.
I’m six or so episodes in and I was enjoying SO much about the anime. It is also just a tiny bit familiar too, as though I’d seen some of it a long time ago.
But whether my memory is any good or not is an issue I’ll put to one side for now, however, because I’ve been able to pinpoint what made me pause my viewing: for whatever reason, I’m just not in the mood for dystopian/bleak stuff at the moment.
I will be sooner or later, but it’s been over a month since I started and I haven’t returned just yet.
How about you? Seen/planning to see/abandoned any of these?
Greetings! It’s collaboration time again, in this one Curtis from Iridium Eye Reviews and I are going to chat about 2019 portal fantasy Ni no Kuni – a film we both enjoyed without being blown away, perhaps.
(You can see one of our previous reviews in Satoshi Kon’s Tokyo Godfathersright here) Before we start, I have to say thanks to Curtis for some pretty impressive patience on this one, as it took me a bit longer than I’d hoped to get everything together 😀
Ashley: To kick things off I wanted to ask if you came to the film sort of ‘cold’ or whether you’d had a chance to play any games from the Ni No Kuni franchise?
For me, I played Ni no Kuni: Wrath of the White Witch (2011) and was excited that Studio Ghibli did the cut scenes in that game, and so I went into the film expecting a certain aesthetic (which I definitely got, and really enjoyed). Having that little bit of background also took care of some world-building for me as a viewer too. I wondered if your first impressions of the film were influenced by the franchise or whether you had a more ‘clean slate’ viewing experience?
Ospreyshire/Curtis : I came into this movie cold. I have never played any of the games. All I knew was that Ghibli helped out in animating the game series, but that was pretty much it.
That’s cool with you having experience in playing this game. Studio Ghibli helping with a video game series is really cool as their skills could help a video game with the aesthetics as well as that animation company expanding their horizons in using their skills. This was purely a clean slate experience in going into this movie blind. As someone who has never played a game nor knowing anything about the world-building or exposition, I did feel like I was learning about the world much like the main characters.
I thought Ghibli was involved in the Ni no Kuni movie perhaps in a co-production or consulting role, but I was shocked to find out that OLM of all companies animated this film adaptation. Could’ve fooled me because it could pass as a Ghibli work (especially with the art, character designs, and Joe Hisaishi handling the music) instead of the same studio responsible for Gunsmith Cats, Yo-Kai Watch, and several installments of Pokemon of all things.
A: Wow, Gunsmith Cats and Ni no Kuni is a contrast 🙂
I feel the same, especially with Joe Hisaishi involved, yeah – it definitely feels like a Ghibli production in many ways, perhaps an industry they could have expanded even further into?
Here’s one of my fav questions – what jumped out for you in Ni no Kuni?
O: I know, right? I would’ve never guessed in a million years that they would’ve animated both.
I thought it was a Ghibli project going in with Joe Hisaishi and the character designs. This isn’t the first time I’ve had that feeling watching some anime projects this year. Maybe they could’ve expanded especially since they haven’t done that much in the late 2010s.
The animation and having a more mature story compared to most Ghibli works were interesting. Okay, I know this would still count as an isekai work, but it wasn’t a boring example of that genre. I legitimately wanted to know more about the world and the connections between there and earth. The alliances shifting in the second half did feel a bit intriguing.
A: I felt the same re: the changing alliances and the far less typical approach to the isekai formula.
I was interested in the way that the characters were tied to their world of origin, that vital storytelling notion of ‘cost’. An action taken by the characters has a consequence and I liked how the film resolved those issues.
O: Of course. I didn’t feel like I was watching some by-the-numbers Isekai work and there were some twists that I didn’t expect with the world building or how the characters were able to travel between worlds. It did keep me interested with the entire movie and as someone who didn’t play the games, I didn’t feel lost in any way. I thought the damsel in distress aspect did get avoided with the whole story not being about healing the princess. Even though that plot point did get awkward watching it in current times for obvious reasons, I didn’t think it was hampered by the modern world as much as let’s say (got to be brutally honest even though you know my thoughts on this) Weathering With You for example.
From an animation standpoint, this was one of the better OLM works especially if I legitimately thought it was a Ghibli movie. The animation flowed very well and the fight scenes had the right amount of fluidity to them. It felt like a movie and never felt like they were cutting corners here like they’ve done in previous works even on their best days.
A: Me too – I hadn’t put it together with all their Pokemon work say, but like you mention, the battles looked great and the buildings and cityscapes caught my eye, the sense of movement within or things like the horse charge Haru leads too.
I was a little surprised that it didn’t seem too well-received, many of the criticisms landing on it not delivering anything new. I don’t feel that originality is the most important metric out there.
For me, the film worked in part because it was familiar in terms of settings and tropes, and whatever elements were predictable in the plot didn’t bother me. I wanted to be satisfied more than surprised and while the visuals were beautiful and I was engaged with the characters (especially Yu) I was happy to go along with events.
Maybe there were exposition-heavy moments to drag things down a little but in the end I was probably most forgiving because I was keen to see how Yu and Haru’s friendship would withstand the tests it faces. It felt classic to me 🙂
O: There was certainly a ton of effort with the animation even with the little things shown in this movie.
Really? I’ve been doing my best to not look at other reviews for most of the things I watch unless it’s something I’ve previously seen before, but I wasn’t aware of the overall consensus. Ni no Kuni isn’t the most original anime which I do agree with, but it wasn’t a horrible watch nor did I feel like it was trying to copy others or coast on the Ghibli-affiliation with the video games even if I was mistaken thinking the studio animated the movie.
I certainly do my best to give my flowers when movies and series do something innovative, but there are times where the familiar can work. This wasn’t some avant-garde work, but it certainly wasn’t some genre-by-numbers dreck. I wanted to know who this was going to play out and how they’re able to go to different worlds or how Yu is able to use his abilities.
I agree the exposition got a bit much at times and the friendship between the characters had fascinating contrasts and good development as they’re both conflicted during the final act.
A: Sometimes after I’ve seen something I’ll try to seek (as best I can) a general consensus about how a film or show has been received and I very much find doing so to be a a double-edged sword 🙂
When I’m lucky I get some new insights or I pick up something I missed, but that doesn’t always happen. This time I was curious to see if people were writing about the movie in regard to disability representation. I don’t know how often Ni no Kuni got it ‘right’ when it came to portraying someone in a wheelchair, but I definitely had the sense that Yu was given proper thought and attention, especially in the earth-based scenes.
When I think about something the film didn’t deliver so well perhaps, one thing that comes to mind is maybe the Black Hooded Man, who seems a little inconsistent – or perhaps even constrained by the plot too easily (trying not to spoil certain plot points :D).
Did anything in particular strike you as a weak point?
O: I’ve done that sometimes and it occasionally factors into my reviews. There were a few times (can’t remember which posts at the moment) where I mention the consensus and I compare/contrast with my thoughts against the masses…or at the very least Rotten Tomatoes and/or Metacritic.
You bring up an excellent point. You don’t see that many physically disabled characters in animated works. The only ones I can think of in the context of being wheelchair-bound are Pelswick, Prof. Xavier from the X-Men, and Garrett from Extreme Ghostbusters. I don’t know if I’m the most qualified person to talk about this issue, but from what I saw, Yu was a character who happens to be in a wheelchair instead of a wheelchair-using character. That makes a huge difference in the presentation. Sure, he’s clearly seen using it in the earth scenes, but his personality goes beyond that in both realms, so I do applaud that. I do wonder if Ni No Kuni would get attention from disability activists in portraying a character in that light.
Yeah, the Black Hooded Man came out of nowhere and didn’t have as much development. As I’m also trying to avoid spoilers, I did figure out his true identity by looking at the right signs. They did throw a decoy with that mystery, but I still figured it out even if it wasn’t exactly how I planned it. I could also mention how the revelation does play up a certain cliche with specific occupations, but I don’t want to give away the twist.
Outside of that issue, I did think some of the background characters didn’t get much development. It’s even more glaring in the fantasy world with so many characters of different colors, shapes, sizes, forms, and species around. Even if some had personalities, they were mainly there to show how different it is compared to earth.
One scene that I thought was very awkward was early on where those healers were trying to cure that disease by dancing or singing. Not only did it feel a bit random even if it made sense with the plot at that time, but am I the only person who thought the attire and presentation was a bit racially coded? If they were analogs of those in the East Indian or Middle Eastern communities (granted, the “earth” parallels aren’t bound by this [spoilers minimized]), then the creators should have re-thought things. I’m not saying it’s as bad as the crows in Dumbo or Mr. Popo from Dragon Ball Z for example, but that did make me raise an eyebrow there. Despite some of my issues with the more mainstream Ghibli movies where Hayao Miyazaki would be in the director’s chair, at least he would’ve really gone in detail with the world-building and have a sense of wonder. Ni no Kuni doesn’t feel like a typical Isekai work despite the obvious tropes, but they could’ve done better to stand out more. Those were a few flaws that came to mind. How about you?
A: I know what you mean about the twist and reveal there, I felt the same re: being confident that I knew who but not why precisely.
Those are good points that I’d missed, yeah. Nothing new comes to mind now that I think about it… maybe a touch more on the old man, who is probably meant to be Oliver from the game. On the other hand, maybe it’s more fun to leave open a hint of doubt!
O: Glad I’m not alone in noticing that. Sure, how it played out was a good twist, but the result was quite obvious for me.
Thanks. As someone who wasn’t familiar with the original video games, I will say that it was a decent entry into that series and I’ve certainly seen far worse examples of video game adaptations in film or TV series, so Ni no Kuni has that going for it. This not-Ghibli movie was fine, but certainly not a masterpiece in my opinion. Thanks for collaborating with me again! It’s always a pleasure having someone to team up with to review some anime.
A: My pleasure! (Am already thinking about another collab for the future :D)
-Add 1 point if you like classic hero stories -Add 1-2 points if you’re a fan of fantasy anime.
-Subtract 1 point if you need a truly memorable villain -Subtract 1-2 points if you’re not into isekai plots.
Score: 3.5 out of 5 (Ashley/The Review Heap) 3.5 out of 5 (Ospreyshire/Curtis)
Remakes of classic shows feel risky, since time can divest modern audiences of context, and of course tastes around art styles and technological advancements change the visual landscape so quickly.
And here we have BEM, a remake created as part of a 50 year anniversary, and so the characters have been around a little while 🙂
Doubly so, that risk I’ve been thinking about seems to stand true for an international audience unfamiliar with the original (which was definitely me) but I took a chance on BEM because I like the supernatural and science-fiction genres.
And while I haven’t seen the 1968 nor the 2006 versions of BEM, I’m quite curious to do so now.
At the core of the series is a struggle for identity and belonging, combined with the Pinocchio quest – a favourite plot in anime for decades.
Here’s a quote adapted from wiki on the premise:
Even though Bem, Bela and Belo (three yokai) are often abused and discriminated against by other human beings due to their appearance, they still strive to protect the human populace of their city from other monsters, one day hoping to become human beings in return for their good actions.
On that note, the theme of ‘becoming human’ is one I craved a little more of in the anime* but it’s definitely present, as the three leads each face doubts about their desire to change.
While they explore the dream, there is a ‘monster of the week’ episodic feel to the early half of the anime, giving us time to get to know the yokai, and I probably enjoyed these episodes better in part because when the ‘big bad’ was at last revealed and brought in to the narrative, it was maybe a little late. She had less impact for me.
On the other hand, the designs were memorable and the action was fun and the themes of discrimination were welcome (depressing as they could be) as it added another aspect to the anime. In this, I imagine there’s a clear link back to the original, surely.
But getting back to the idea of risk, another thing I noticed were the 1960s kinda character designs that remained.
I reckon the artists would have wanted to update things without destroying the original designs.
To me it worked overall for sure, but two things struck me – the most obvious being Bela’s change from adult to teen, and the second being the occasional character like the bowling ball bad guy, who felt kinda goofy.
Those issues aside, I finished the short anime interested in more and enjoyed it enough to seek out the film BEM: Become Human, which luckily enough at the time, AnimeLab had on hand.
*The movie definitely does explore this theme in more depth and the animation budget seemed a bigger too.
(Also, I enjoyed the OST from Soil & “Pimp” Sessions, the themes most of all I think).
Beautiful Bones: Sakurako’s Investigation (Sakurako-san no Ashimoto ni wa Shitai ga Umatteiru) 2015
I probably made a bit of a mistake by reviewing this series a fair while after finishing it – I forgot to take notes right after too, so I’m hoping I remember things clearly nevertheless.
Beautiful Bones contains a lot of aspects I enjoy; episodic mystery, slow-reveal backstory, a clever but odd-ball lead, a bit of drama and humour too, and of course, lovely visuals. I wasn’t watching seasonal anime back in 2015 and so this was an anime I’d heard about but not seen until earlier this year.
Okay, as I sometimes do, I’m launching into dot points now, starting with a random list of things I enjoyed:
Sakurako and Shoutarou have a good dynamic, the mis-match adds both drama and humour with young Shoutarou having to be the responsible one at times
I enjoyed the specific (if morbid, I guess) forensic elements about bones
Gran is a stand out 🙂
The source of the cursed painting was a great reveal
Interesting to see the ‘beautiful but cruel’ character type in Sakurako softened by her obsession with osteological matters
Features some tough themes
Settings were detailed and lovely, as were objects (it’s always interesting to see just how much of budgets in other shows seem to be devoured by action sequences)
In contrast, I did have three quibbles to note:
Because Beautiful Bones is only one short season, the main villain never quite goes beyond “lurking menace”. Excellent set-up for a future season though… should one ever occur
Feels like the ED overcompensates for not being able to put heaps of fan-service in the actual show
In regard to the final episode – I think I like it, even though I might not have been satisfied. Sakurako’s past and present were just about converging but without enough episodes not much came of it, and so the conclusion becomes about resolving a different problem. Without spoilers, I think it still gave a sense of closure to the season but I was expecting something different.
So, should you check this series out one day?
Well, if you like any of the things I’ve mentioned further above, and if you can accept an ending that doesn’t deliver many answers, then probably yeah 😀 I’ve not seen anything else from Troyca but to me everything looks great.
Beautiful Bones is hardly an old series either, and so it’d be easy enough to find. I will add that, despite the young co-lead, the anime is obviously not aimed at younger audiences.
Even as I type this, I’m sick of my own go-to thought being something like ‘compare this one to Ghibli’, because that’s lazy of me.
Moreover, Studio Ghibli hasn’t released a non-CGI feature for six years or so. And nor do they own ‘awe and whimsy’. No studio does, of course! (Having said that, I know Wonderland has been compared to Ghibli and Miyazaki films in particular.)
But it is different in terms of tone and execution.
The Wonderland is an old-school portal fantasy (or ‘Isakei’ to use the anime lingo) where characters are led into a fairy-tale world (rather than a game), which makes sense considering that it’s based on a children’s story from 1988*.
And the world that Akane and her aunt must save is a real draw for me since it’s got plenty of surprises and fun, whimsical settings, characters and moments. There’s also a classic ‘reluctant hero’ plot and it’s nice to see Akane quickly become less selfish as the story progresses.
(Of course, there’s an understandable reluctance – being asked to save a magical world you never knew existed would be worrisome to say the least).
As much as I enjoyed most of the film, there was something missing from the narrative. Perhaps strong ties to the central problem Akane is being asked to solve? Or maybe I wanted more from the villain too?
Still, the art and animation was beautiful and Chii was an interesting addition to the leads, and so I didn’t mind. And there were funny moments to balance the menacing ones too (without spoilers) like with Akane and the cats or Hippocrates’ transformation.
The Wonderland is aimed at younger audiences but it’s not G-rated either, so there’s violence but I don’t actually remember blood. Having noted the target audience, I found it interesting that an adult from the real world was allowed to come along for the adventure, which is kinda rare in YA fiction.
Directed by Keiichi Hara, (Miss Hokusai), this adaption was only released a few years ago now but I don’t remember hearing about it, not back then and not very often now either. I’m curious if anyone else had a chance to see it?
Maybe 4 Stars is a little generous in terms of a rating but for me, in a visual medium the visuals sometimes make up for other issues 😀
*Chikashitsu Kara no Fushigi na Tabi (Strange Journey from the Basement) by Sachiko Kashiwaba
Ah, superheroes who have problems beyond saving the world.
This is an ‘old’ series now, (first airing back in 2011) featuring a lot of comedy and action, typical of the genre, and both things that are definitely pluses for me. Having said that, my knowledge of superhero texts is very much limited, and to decades past, so I won’t be trying to contextualise things here.
I ended up binge-watching large chunks of the show because the story beats were spot on, and I was quickly invested in the world and the human struggles of the leads.
Kotetsu is my fav, not just because I like Hiroaki Hirata’s work or the buddy-cop arc with Barnaby, but because Kotetsu pushes back the hardest against the corporations and their vacuum of values.
And while half the time you watch the anime you’re shouting at Kotetsu to do the right thing by his daughter, he’s definitely the kind of guy who will live up to his own convictions.
If you haven’t seen Tiger & Bunny but are planning to, I think that if you’re like me, before you get invested with the characters you’ll be hooked on the world itself.
The superheroes are basically competing with each other to maintain their corporate sponsorship, and so there are constraints placed upon them beyond the scope of their powers.
Commercial pressures and obligations to their ‘owners’ weigh heavy and so you have the heroes doing product placement and side projects to generate revenue for the corporations. It’s a bit like Idol + Superhero, something I personally hadn’t seen a whole lot of before.
A few quick dot points before I wrap up the review:
I hope Lunatic gets some more time in the new season as he is an interesting antagonist
Transforming the word ‘Barnaby’ into ‘Bunny’ is pretty good 😀
The slow thaw between Kotetsu and Barnaby is another high-point in the storytelling
Great opening theme song
The CGI hasn’t aged too much
I really liked the sleek mech-costumes for our leads too
Tiger & Bunny isn’t flawless of course (very few things are, right?) and there are a few cheap shots at the expense of Fire Emblem’s homosexuality, even sort of painting him as a harasser, which sucked.
You’ve also got the typical anime/superhero costuming which is both a plus and a minus – thinking about Blue Rose or Barnaby here I guess, but neither are one-note characters and there is a kind of ‘equal opportunity’ approach to fan service at times, lol.
Overall, plenty to enjoy if you like the genre and I’m definitely seeking the films next.
I know I’ve said this before, but sometimes I dislike using the word ‘sweet’. Mostly because I worry that it has dismissive connotations or that it suggests a lack of tension, or stakes. And that’s not the case in Gingitsune for me.
Maybe ‘feel-good’ or ‘uplifting’ is better for a description of tone in this short series? If I was pressed in terms of genre (beyond supernatural or fantasy) I’m thinking of that blurred line between Slice of Life and Drama.
The main draw for me was the grumpy-but-caring Gintaro (messenger to the fox god Inari) and his relationship with heroine Makoto, the young shrine maiden. Their quarrels and triumphs were great and Gintaro’s obsession with oranges was always funny.
I also enjoyed the Shinto aspects. I’m not very familiar with that cultural aspect of Japan at all and so it was great to learn a little about it, even in the fictionalised context of an anime.
Notwithstanding the tediously jealous Hura, the characters are all cute and fun and I liked the episodic nature of the stories too, along with those beautiful backgrounds – of which I’ve shared only a few.
So, if any of the above sounds like your thing and you’ve not come across Gingitsune before then consider finding it because I reckon it’s pretty great 🙂
A quick review for Ride Your Wave (Kimi to, Nami ni Noretara) 2019.
Romance is one genre that I don’t have a lot of knowledge about so I can’t compare Ride Your Wave to many other films but I definitely enjoyed it. Maybe in part due to the fantastical elements that supported the romance?
That said, the central romantic plot certainly has a few twists and turns and one complication seems like the kind that would definitely end a relationship… but without spoilers, Minato and Hinako do remain connected afterwards.
Throughout Ride Your Wave there’s plenty of drama, not too much angst and enough funny moments to balance out the sadder parts too. I also enjoyed the kinda gangly character designs, they stood out for me, adding to the sense of characters fumbling through their relationships.
I do remember beginning to see Yōko as a complete villain but she’s not one dimensional.
At the end, there’s a big, pretty exciting final set-piece and it really extends the surf theme while neatly marrying in the fire-fighting – probably my other favourite aspect. (And the summer setting is both warm, bright and most welcome when I think back on it, especially as winter is really digging in here at the moment).
I haven’t seen much by Masaaki Yuasa yet (just ‘Happy Machine’ from Genius Party), and I really enjoyed Ride Your Wave, so I will definitely seek out some of his other films now too.
Brave 10* was definitely fun but maybe not super-memorable.
Or at least, it never got a chance to become too memorable for me – since as with a lot of anime series that are only 12 or so episodes long, there’s just not enough time to tell those stories with a more epic scope.
And Brave 10 was leading up to some bigger conflicts for sure but it only had time to present an opening salvo.
Still, the season is not given an awful cliff-hanger ending, so if you want a short, supernatural ninja series with a lot of action, some angst and a conclusion, then Studio Sakimakura/TMS Entertainment definitely deliver.
I know I haven’t actually said much about the story or characters but to be brief – in Brave 10 a wandering ninja ends up protecting a shrine maiden who is more than she seems and in time there’s a shift toward the ‘drawing the team together’ plot, in order to prepare for a big struggle that sort of occurs.
And while Saizō wasn’t as interesting as some of the other characters, I liked Yukimura a lot and I know his role would have expanded in future seasons, so that’s a shame. (On the note of characters I can’t figure the motive behind the story playing coy with Kamanosuke – for laughs or to kinda rebel against social labels?)
To switch from my regrets to a positive, I do like costume dramas (and other historical elements) and in Brave 10 certainly Isanami and Yukimura (among others) get to show off their threads. Overall, I shouldn’t complain precisely, as I certainly finished the anime and would have watched more to hopefully see Yukimura’s plans come together.