Amagami SS parades hollow, vacuous simpletons around in a grotesque approximation of a romance plot; cretins drawn with all the grace of a gorilla with a crayon shoved up its nose, splattered wholesale into a story that is as if the plot of a romance novel were faxed to the writers but was horribly smeared and distorted in the process, leaving just a grim and disfigured estimate as to what was intended. These are not even characters but amalgamations of the most tired, staid and all-round tedious aspects of archetypes that have mutated into a hideous, cringeworthy diorama of what sociopaths believe realistic or dramatically engaging human interaction is. There is no merciful release from these mannequins pretending to be people, only the grim realisation that there are twenty four episodes of uninspired, stupidity inducing drivel to come.
delights in emasculating her sycophantic barely-male toy that one day latched onto her like an unwelcome parasite
The plot as it stands concerns Junichi who after being slighted by an as yet nameless girl doesn't take the honourable and budget saving route of giving himself over to a psychiatric ward and instead constructs a pithy home made planetarium in his cupboard out of marker pen and tears of rejection. Through the abject failure of natural selection, the doddering halfwits he associates himself with haven't murdered him out of boredom or compassion and continue to potter about their own superficial lives. His hormones eventually determine he should pursue a girl one year his senior but whose mind is the colour of bitumen and has all the personality of a long deceased lemming. While he kowtows to her every whimsical desire, humiliating himself in front of his sole male acquaintance in the process, she remains fickle and obtuse and, with any luck, is plotting a gory end to his pathetic existence.
Coming from the husband and wife team that includes Brian Ashcraft of Kotaku and WIRED fame, Japanese Schoolgirl Confidential charts the rise of schoolgirls in Japan from background to brand, exploring the details and influences that surround them. Printed in a stubby, easily held format, the book is littered with photographs and illustrations that support the content, but is also adorned with a variety of kitschy, gaudy paraphernalia like faux-diamond bordered hearts as image captions and heart stickers in the corners. The format is fitting for the subject matter, keying into the peppy and sparkly façade, but completely at odds with the variety and veracity of content that the book offers from start to finish. The level of research, care and attention that has been put in is gratifying for a book that could easily have been as vapid and frivolous as one assumes the eponymous schoolgirls are.
the writing is fluid and encourages extended reading with stand out chapters on fashion and the history of the uniform
The greratest triumph of the book is in debunking that mentality: that the schoolgirls, decked out in iconic sailor-suit school uniforms, are a product carried by a society that has a borderline hysterical lust for cute characters and intense consumerism. Subverting that impression to show the girls as drivers behind many of the sea-changes that happened in fashion and product development to moulding gender issues is cleverly done and achieved through example more than a stolid recounting of facts. The book is divided into eight chapters that begin by covering the history of the most obvious trait - the uniform - then moving on to idols, film, magazines, art and wrapping up with video games, manga and anime.
Takashi Watanabe obviously woke up one morning, head still groggy from a night of drink, drugs and debauchery, one hand clutching a napkin with a list scrawled on it - ninjas, cyborgs, magic, gods, dragons, breasts - and in the other a production contract, sloppily signed by himself. There is no way else a series as bonkers as Ichiban Ushiro no Daimou could have been born except from some ill-informed bet or dare. Cramming this amount of content into twelve episodes means dispensing with a consistent art-style, rounded characters and coherent storytelling; that the series hangs together at all depends entirely on the infectious enthusiasm and deviant pleasure of wondering where the story could possibly go next.
a show that Michael Bay would create if he were a long time anime fan, slightly deranged and on the breadline
Despite Akuto Sai's desire to become a High Priest - a peerless champion for good - his Constant Magick Academy aptitude test predicts he will become a fearsome Demon King. Panic amongst the student population ensues and although Akuto remains defiant, forces begin to align themselves both for and against his ascension. Ancient clans such as the samurai Hattori and black magic Etou become involved, just as the ruling government sends an android to keep watch; Akuto isn't alone however, his childhood friend Keena and spirited minion Hiroshi stand by him, doubly so when the fearsome dragon and loyal servant of the Demon King Peterhausen is unearthed. Akuto's plan to remake the system of gods and scriptures may yet come to pass, though maybe not with him as the soldier of justice he envisioned.
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.
A concept such as a brother's romantic entanglement with his two, admittedly non-blood related, sisters does not seem like one suited to crippling mediocrity - but Kiss×Sis, by some monumental feat, manages exactly that. The odd family arrangement mirrors that of the series which spans multiple media including an OVA released with the ongoing manga. This saturation of different versions is utter overkill for a bland story and weak characters but compounded here in the TV offering by minimal naughtiness and a wholly uninspiring production of stilted animation and insipid music. The positives are rare but include how peculiarly inventive the narrative is in placing the sisters in situations ripe for corrupting their brother, as well as portraying the two perverse, red-haired seductresses' intentions as naive and almost pure. Those pluses however are eclipsed by the multitude of negatives which only reinforce the fact that this was a stillborn idea before it was ever committed to paper or animation.
makes light of situation which is socially and morally bankrupt in order to legitimise a deviant fetish
Keita is his father's son, unfortunately for him his sisters are his stepmother's daughters and while a blended family isn't abnormal, his sisters' vocal affection for him is. They are intent on helping him get into their high school which involves some rather unique methods of tutoring, however both Ako and Riko vie for Keita's affections which spills out into a continual struggle for supremacy. This usually ends up with Keita in the middle attempting to unsuccessfully mediate or otherwise remove himself from the squabble. Although at first disparaging of their romantic feelings, he begins to feel something for them as well, and being all under the same roof it may not be long before something extra curricular happens.
K-On!! is not the harbinger of doom that so many make it out to be. For a show about the twee shenanigans of five high school girls and their band, it certainly is divisive. The first three episodes of the second series however do not highlight why; sure the opening sounds like it was dragged from the circle of hell reserved for naughty bagpipes and a lot of the animation work is demonstrative of a company with enough cash to be extravagant, but it's the fervour of the audience on both sides that likely bifurcates one's opinion more than anything. Despite the nagging question of its purpose, the series' the opening episodes prove an entertaining, sporadically cringe inducing saunter through a world without raunchiness, without violence but with plenty of sunshine and smiles.
the series is diverting attention to other members before the cash cow is unceremoniously milked
Picking up where the first season left off, the majority of the girls in the Light Music Club have now entered their final year of high-school and are dealing with the trials of schoolwork and attempting the get their band, Afternoon Tea Time, off the ground. The first piece of trouble comes from the realisation that after the end of the year, only Azusa will be left - a mad and ultimately fruitless scramble for new members ensues. The cleaning out of the music room cupboard reveals a hidden treasure in the form of their homeroom teacher's guitar. Lastly, peppy drummer Ritsu has a rare crisis regarding her instrument choice, saying that her position at the back of the band keeps her from the spotlight. Her trial run of different instruments ends much as Mio predicted, but does lead to a new song from keyboardist Tsumugi.
