The first two episodes of Black Lagoon are a carnival of ridiculousness. The climax of the opening story sees a boat use a ramp to launch torpedoes at a pursuing helicopter while the instigator of the plan flips off the doomed pilot. To say the series is quite silly would be an understatement. Even through two seasons it doesn't ever forget just how absurd a lot of it is, but tempering that craziness is a slick and very poignant look at villainy, existentialism, obligation and trust. What makes this mix so rare - gunfights, car chases and philosophising - is how well they meld together and crucially how entertaining the entire package is.
The duality between childlike abandon and adult seriousness is unique and gifts the series with sentiment that one wouldn't expect it capable of
The series starts atypically enough with a Japanese salaryman, Rock, being kidnapped by a mercenary company, the titular Black Lagoon, and opting to stay with them after his initial ordeal is over. The story follows him through the exploits of the company and his attempts to come to terms with his new life within a city a villains. The narrative is broken up into a collection of stories lasting anywhere from two to five episodes and involve a transport job gone wrong to an overseas gang war and all points in between. As well as the three other members of the Black Lagoon company, Rock collides with an eclectic batch of characters including combat maids, scarred Russian soldiers and pistol toting nuns.
Bringing back the creative forces behind the 1998 series Serial Experiments Lain came Texhnolyze in 2003: a thoroughly peculiar name and the decade's best example of mind-bending anime. Scenario creator Chikai J. Konaka was riding high after 'Lain and the well received Hellsing TV series, around the same time Texhnolyze was released he had already lent his hand to the RahXephon movie (Pluralitas Concentio) and would go on to do the Air Gear TV series as well as Masamune Shirow's Ghost Hound. Character designer Yoshitoshi ABe meanwhile had leant his hand to a number of series previously including Haibane Renmei and Nie Under 7, however this would remain his last character work for anime for the foreseeable future.
a meditative look at the effect machines have on humanity when all barriers between them are removed
The setting could not be more verdant for exploration: an underground society - the only place on earth where the component for artificial limbs can be harvested - carved up by ceaseless gang fighting. The company-sponsored Organo tussle with the anti-prosthetic Union while in the middle is a religious sect who worship prognosticators born only once in a generation. Ichise, a bare-knuckle brawler, is mutilated by his employer and only saved after being taken in by an arrogant and capricious doctor, eager to experiment. He is fitted with the latest prosthetic limbs, texhnolyzed in the series' parlance, and eventually joins the Organo in their ongoing fight. However those who control the city, the Class, begin to move and the streets of the decaying city, Lux, become a warzone.
The CLAMP powerhouse whirs back to animated life after the juggernaut of Tsubasa Reservoir Chronicle and the most recent xxxHolic, this time with a protagonist that has a more than coincidental likeness to a certain green-haired girl created by Kiyohiko Azuma. Kobato is an undeniably twee production but, unlike other outputs by the all-female studio, lacks a more engaging overarching story.
whereas series like Chobits had a dearth of possibilities, this seems inspirationally barren
The titular character Kobato drifts down to earth in a swirl of cherry blossoms and flowing hair, finally exclaiming that she will "do her best". Not the most original of introductions but the opening melody by the superb Maaya Sakamoto is reason enough to continue. What follows is relentlessly saccharine as the protagonist is set on a mission - by her gruff and obnoxious stuffed dog Ioryogi - to heal people's hearts and collect the fragments - shaped like kompetio - in a jar so that she can obtain her as-yet undisclosed wish. Surviving on a mixture of luck and the grace of strangers, Kobato's mission introduces her to a medley of shrill voiced people, all with faces easily recognisable to those with even a passing familiarity with previous CLAMP works. Calling this a kids show would be redundant, but that it feels mildly derivative and frequently vacuous is surprising given the creators.
It's inevitable that Mokke is going to be compared to the seminal Mushishi: it deals with a similar "hidden to all but those who can see" neer-do-wells, has a similar way of dealing with them and maintains the same kind of morality about their place within nature. This may sound like Mokke is nothing but a substandard copy of Mushishi but in actuality, the similarities are minimal at best.
Pleasant and charming it may be however it doesn't have the humanity or the depth to maintain interest.
Ostensibly set in modern day with two sisters, the younger of the pair has the ill fortune to be easily possessed by wandering spirits while the other older of the two is able to see and hear the ephemeral critters, a gift she shares with her grandfather. The first three episodes take different approaches to dealing with the entities: the first is about the older sister wanting to protect the younger one culminating in her banishing a shadowy antagonist, the second is about a helpful but tricksy fox spirit, while the third is about a spirit which follows a doubting person around, devouring their confidence and vitality. The nature of the entities is stated on a case by case basis and borrows more from Buddhist and Shinto mythology than the "part of nature" route taken by Mushishi. In terms of comparisons, Mokke borrows more from Dennou Coil than it does anything else; the similar focus on younger children rather than teenagers or adults, even the first spirit is akin to Dennou Coil's digital aberrations.
