Approaching Trigger’s Kill La Kill critically is a daunting task. It has been a divisive series since its first episode and the scrutiny it has been placed under by fans even now, weeks after its last episode has aired, means that there are so many arguments and debates that there is an unspoken expectation to fall on one side of the fence. Is the series feminist or misogynist? Does it have character development or just caricatures? It is a narrative wasteland or stylistic grab bag? Better or worse than Gurren Lagann?
about chutzpah and indomitable spirit, about magical girls and bondage monsters
That last point is one of a number of elephants in the room when it comes to this series, thanks in no small part to it being plastered over the initial marketing material, sharing the same director - Hiroyuki Imaishi - and a multitude of staff including writer Kazuki Nakashima. Studio Trigger’s inception is well documented, but suffice it to say that the production team and only their second original creative effort after Little Witch Academia means that Kill La Kill started with the most fearsome of challenges: expectation.
The majority of Chuunibyou demo Koi ga Shitai! Ren (lit. Even With Eighth Grader Syndrome I Want To Be In Love, alt. Love, Chuunibyou and Other Delusions -Heart Throb-) is forgettable fluff. The core relationship between recovering chuunibyou Yuuta and incurably afflicted Rikka that came to a head in the first series is the focus this time around and instead of the clear split between light humour and super heavy drama, this second series is almost one hundred percent affable comedy. There are diversions such as a competitive napping contest and a school trip but otherwise this is a by the numbers campus love comedy.
would a second offering be more light-hearted after the first’s rather conclusive ending?
In an attempt to inject some drama into an otherwise undramatic and glacially moving relationship, a friend from Yuuta’s past makes an appearance: the similarly ex-chuunibyou Satone who sports a mane of pink hair and shrill, borderline hysterical laugh that becomes somewhat of a warning siren throughout. She is the only notable addition to a series that was already heavily weighted towards females and the story is content to shed Yuuta’s only other male friend, Makoto, who becomes a lot like YuruYuri’s Akari in being invisible most of the time. When he isn’t wearing the anime equivalent of blackface and being preyed upon by a predatory male classmate of course.
Like many recent two-season anime series, Nagi no Asukara (lit. From The Calm Tomorrow, alt. A Lull in the Sea) is bifurcated neatly at the thirteen episode mark. You could, in theory, leave the series at that point and be content with a competent if unresolved story story of early teenage angst. It would be a huge disservice to how spectacular the series is a whole though, and though you can spend the former half playing “count how many times girls cry” each episode, the latter half exceeds an already beautiful production with a thematically rich and emotionally charged tale of adolescent love in all its forms.
Your eyes are so blue, and your tears look like waves
It’s an unlikely recommendation for a series whose director’s previous productions have included the Inuyasha movies and the woefully unremarkable Gunparade Orchestra. Perhaps not so unlikely though for the writer who is right at home after penning The Pet Girl of Sakurasou and the similarly P.A. Works produced Hanasaku Iroha. It’s also odd to hear myself recommending it when the pseudo-contemporary setting and laser focus on romance and juvenile relationships isn’t my usual fare. But rare is a series that is afforded such startling production values that match a capable story and confident delivery.
Please note: the remainder of this review contains spoilers from throughout the anime series.
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Feedback from people on the internet is hard; I can monitor hits and visits and bounces and loading times until the heat death of the universe and I still wouldn’t know whether the people visiting my site enjoy my content. Comments are often cited as a good indicator of blog interaction, some would say that a blog starts when its comments do, but especially with anime blogs (which I guess given the volume of content on the subject I’ve produced, mine falls into) comments tend to be about the subject (episode, series, movie etc.) rather than about what has been written. Just check out any well frequented anime blog (RandomC, The Cart Driver, Metanorn et. al.) for examples.
Tokyo Ravens is a lot of things, but one thing it definitely isn’t is predictable. At a macro level at least, on a micro level varying tropes come into play with the characters that are hit and miss in terms of their effectiveness. It’s perhaps not even fair to say its plot is unpredictable; it is insofar as that if you are not paying attention and wholly invested in the story, character titles and lineages then a lot of the series bigger reveals will creep up on you. That investment doesn’t just reward you with predetermination about who is the reincarnation of whom but generally a better understanding of what the devil is going on.
when she isn’t whipping down her hakama pants only for Natsume to walk in right then. Oh how unexpected
It starts out with a love triangle, followed by a death, followed by a “must get stronger” subplot and then a fox girl appears. Harutora’s ascension (and the audience’s initiation) into the super-charged spirit world of eastern mysticism is similar in approach to the underappreciated Tokyo Majin but the blend of old-world chants, talismans and spells with humvees, mobile phones and the Tokyo skyline is distinctly its own. Weave in some psuedo-political intrigue, sedition and the stalwart campus love comedy and you get at least an impression of what Tokyo Ravens has to offer.
