Something happens at episode seven of Sora no Woto: what seemed like a placid mongrel dog suddenly bared its teeth. Brief and unexpected, it gives the animal a presence it hid so well previously. Rarely does it show them again and in the series' brief run of twelve episodes the dog remains serene and predictable - the bite never comes despite ample opportunity. Contrary to earlier predictions based upon the first three episodes, the series meanders but never succumbs to the obvious and though it may leave more loose threads than is justifiable it most importantly has a heart, a feature lacking in so many other series.
Facial features are wont to wander and only the unflattering military garb prevents the same happening to limbs and other body parts
In the distant past, a disaster befell the Earth and much of the knowledge of technology was lost along with much of population and fauna. After joining the Helvetian army as a bugler and assigned to the 1121st Platoon, Kanata must adjust to the slow paced lifestyle of the remote border town of Seize and her comrade's idiosyncrasies, all while improving her bugling skills. Her misadventures include the exploration of a haunted, ramshackle school, an impromptu training exercise as well as rescuing children from a vicious typhoon. Her squad mates include the precocious Kureha, the solemn technical genius Noel, the big sister Rio and their whimsical leader Filicia; over the course of the series they rebuild of the multipedal tank: Takemikazuchi while their pasts are revealed and motivations explored.
Following up the critically acclaimed and astoundingly brilliant The Girl Who Leapt Through Time was never going to be an easy prospect but with a timbre shift sure to cement Mamoru Hosoda's role as a world-class director, Summer Wars proves to be a worthy successor both creatively and aesthetically. Taking the fluidity Madhouse gifted his previous film with, the animation is dialled up until innumerable characters are all raucously moving at once - breathing, laughing, talking and living on screen. Pomp and flair help avoid the stereotypes that so often go with virtual-world stories and though it still degenerates into a touch typing marathon, the excitable charm it displays throughout elevates it from the standard, tepid blockbuster fare.
a blend of virtual worlds, rogue AIs, questionable mathematics and enforced time limits
Kenji is asked by one of the prettiest girls in school, Natsuki, to help with a summer job; unbeknownst to him however is that her grandmother is soon to be turning ninety and Natsuki has told her family about a fictional fiancé that he must now assume the role of. Travelling out into the countryside around Ueda, he is introduced to the bustling, varied personalities of Natsuki's extended family and the palatial house and grounds that have belonged to the Shinohara clan for generations. In the virtual world of OZ however, a malevolent entity is wreaking untold havoc - shutting down vital utilities and gobbling up user accounts with nobody able to stop it. Inconvenience is only the start when it transpires the entity has a close link with the Shinoharas and it may only be Kenji, Natsuki and other members of the family who can stop real world devastation from occurring.
The first season of Queen's Blade was underwhelming, beyond the initial deviance on display it went only slightly further than many of the other fighting-fanservice genre shows and exploited none of the opportunities a guaranteed late night, paid channel slot offers. Season two does nothing to change this status quo and, if anything, regresses by reducing the rampant titillation and dialling up the poorly choreographed fights. It still exists in the penumbra between unabashed pornography and cheeky teenage lasciviousness but whereas its forebear had a streak of deviance, there is a laughable attempt at characterisation which transforms the plot from background noise to utter drivel. Scant recommendations can be made when the series wholly fails to elicit any response, emotional or lustful, other than pitying indifference.
the disrobing becomes an afterthought to dead-pan serious problems
At the end of the last season Reina had made her way to Gainos and - after a brief scuffle with an avatar of the oft alluded Swamp Witch - the current reigning champion of Queen's Blade, Aldra announced that the Queen's Blade tournament could now begin. All of the previously introduced combatants take part for reasons best ignored lest they crumble under scrutiny, and after the more insipid ones are knocked out, the protagonists Reina and Tomoe once again take centre stage. With nefarious whimsy Aldra pits friend against friend and master against pupil, however it becomes increasingly apparent she has an ulterior motive to the battles and that her power to petrify the living is not borne from human magicks. As the contestants are whittled down, deaths follow and harsh realities are brought into acute focus leaving all but the most stalwart able to survive.
Please note: the remainder of this post contains images of nudity, if you are offended by these or are otherwise unable to view these images within your municipality due to laws or moral obligations, please do not proceed.
The second season of Darker than Black requires a lot of faith to watch for it not only dawdles when it should be running, it becomes increasingly obvious that it will not answer any of the questions posed in the first series, but will be raising innumerable subsequent questions. Ambivalence when beginning the new series will make the ending, if it is reached at all, all the more bitter; Darker than Black: Ryuusei no Gemini expends every chance to present a complete and satisfying series instead fixating on trivialities and ignoring aspects which desperately needed addressing.
flying cars, a talking squirrel, an aggressive bisexual and ill-defined organisations - credibility becomes an issue.
Set an indeterminate amount of time after the end of season one, Gemini of the Meteor picks up with Hei, now working for the CIA, in Russia. Dishevelled and abrasive he collides with a young girl, Suou, who has just lost most of her family in an attack and is on the run from the authorities. In a seemingly purposeful act, Suou becomes a Contractor and able to materialise an anti-tank rifle from a necklace given to her by her father. An uneasy alliance between Suou and Hei begins, bolstered by the doll July and the return of Mao who now resides in a neckerchief wearing squirrel, they all begin the perilous journey to Japan. Dogged by both Russian forces as well as the mysterious Japanese Section Three, whose new recruit Misaki is eager to discover the truth to ongoing events more than to apprehend the fleeing fugitives, the trip will not be easy and exposes difficult truths about everyone involved in the Hell's Gate incident portrayed at the climax of the first series.
The first story of Aoi Bungaku, No Longer Human, is covered in a soft, often wintry mist that permeates through to the character's unsurprising end. The remaining five stories however are vividly realised, varying between sharp reality and kaleidoscopic dreamscapes; each conveys the vagaries of humanity with poignancy and skill. So too changes the attitude in each story, from the purgatorial trappings of the first story to the theatrical analogy of Run, Melos! to the Rashomon-esque multiple viewpoints of Kokoro. An ambitious and vibrantly successful venture that wears its literary roots proudly, portraying characters with unflinching amorality and focusing not on full-circle stories but short vignettes of startlingly tangible people.
the stark implications of madness and jealousy, grace and fervour played out with such composure
The first four episodes tell the story of Yozo and his attempt to come to terms with his more base instincts and emotions which more often than not lead him to psychological turmoil, not helped by his sexual reliance or penchant for escapism. The second tale is of Shigemaru, a callous thief who one day comes across the beautiful but demanding Mitsuki whose bloodthirsty attitude is tempered only by her morbid fascinations. Shigemaru battles with his fear of the forest's cherry blossom grove while capitulating to all of Mitsuki's murderous whims. The third story is of a gentleman known only as Sensei who invites a scruffy man, K, into the house where he is staying; told from two differing perspectives, both concern the daughter of the house, her affections and the results of a cross-communication between the men. The fourth narrative is of a man tasked with adapting a story for theatre but the process opens old wounds with the parallels it has with his own life. The final two stories are set within the world of a fickle and flamboyant king: the fifth sees the capture of the wicked criminal Kandata, his execution and descent into hell; the sixth follows the artist Yoshihide who, disillusioned with a kingdom he sees as rife with violence and cruelty, is ordered by the king to paint a vision of the land on the walls of his tomb.
