The first thing that will probably strike you about Tokyo Ghoul is the opening. It’s a visually stunning minute and half that blends together vast, impossible skyscapes with cracked glass and twisted reflections of the main cast. It establishes this as a series about duality, about masks and, most of all, about the nature of monsters.
That opening is attached to the second episode and had I baulked at the first episodes’ unrelenting viciousness, I would have missed out on what turned out to be a supremely rich and entertaining series. It definitely isn’t my usual fare. Primarily because of that misanthropic sadism that is more or less the entirety of the opening episodes, reminding me far too keenly of clunkers like Elfen Lied or Brynhildr in the Darkness. Make no mistake though, this isn’t just self-indulgent gruesome violence, it has a purpose that goes miles beyond trying to make the series edgy and “adult”.
A review of the second Fate/kaleid liner Prisma Illya anime series
Sooner or later I’m going to have to make a decision as to what constitutes a series, and thus allow me to write a review about it. How do I even describe Fate/kaleid liner Prisma Illya 2wei now that more episodes have been announced - with the suffix “Herz”? Is it the first season of the second series? Just the second series and Herz is the third? Even with its 10 episode runtime that is as petite as its protagonist, there is a familiar self-contained arc to the story with spin up, climax and wind down that matches a typical series. Even the last episode has a sense of finality to it.
As much finality as a show about a white haired magical girl in a luminous pink frock can muster at least. Almost none of the (spoiler filled) portents that the end of the last series held have to come to pass, despite a deceptive amount happening. So Illya and Miyu are still magical girls, Rin and Luvia are still bickering over the cards and Ruby and Sapphire are still malleable floating rings that somehow manage to avoid being seen by any of Illya’s classmates.
Invoking Shakespeare in your story is risky business because like one comedian making reference to another, it invites comparison. And being compared to the stories of whom many would consider is one of the greatest writers ever is not a battle many writers are up for. This is true from a predominantly Western context, but from an Eastern point of view? A Japanese point of view? Shakespeare perhaps doesn’t hold the same reverence having not cast a shadow over several hundred years of literature.
have a good ol’ magical scuffle and lay waste to a not insignificant chunk of Japan
This is all academic really because regardless of its overtures towards Shakespeare, Zetsuen no Tempest: The Civilization Blaster (Blast of Tempest) is below par. It starts out intriguingly enough with the awakening of something grand and unknowable leading to the quiet annihilation of an entire town. Only Mahiro survives thanks to his estranged friend Yoshino and a voice from afar, Hakaze. From there the trio must evade the attention of the Kusaribe clan and try and stop the awakening of an even greater power which threatens the world.
First released: July 2009 Version reviewed: BluRay
A lot of media start right in the thick of things, in media res, but Canaan is the only series I’ve seen that seems to start at the end of things, ad finem. As if all of the interesting development has already happened and this is the epilogue where the elves are sailing west. Wikipedia informs me however that Canaan is in fact a sequel to a Japanese-only Wii game and “conceptualised” by Type-Moon (of Kara no Kyoukai and Fate fame) co-founders Kinoko Nasu and Takashi Takeuchi. Whether having played that game helps in understanding the series is unknown, though unlikely given it shares only a few characters, one of whom is secondary at best.
everything scrapes against each other like rusty clockwork
The broad strokes though: photographer Maria Osawa and journalist Minoru Minorikawa travel to Shanghai to cover an anti-terrorism summit. Maria reunites with an old friend, Canaan, who is a mercenary for hire and possessed of the gift of synesthesia, allowing her to see odours and hear colours (amongst other things). A fine setup, but proving the exception to the rule that anything Type-Moon touches turns to gold, Canaan as a series is like the parade in the first episode: colourful, chaotic, and thoroughly unintelligible. How could it go so wrong?
A review of the Ryuugajou Nanana no Maizoukin anime series
I’ve found myself saying numerous times before in reviews that how a series starts isn’t necessarily how it continues. Putting aside first episode budget splurges, the tendency to cram as much into those first precious twenty or so minutes means that sometimes story, characterisation and continuity can be left by the wayside. Often this is just an innocent enough attempt to grab attention before settling in to a more measured pace. Ryuugajou Nanana no Maizoukin (Nanana’s Buried Treasure) is only the second series I can think of - the other being the underappreciated Ga-Rei Zero - that purposefully builds up your expectations and then mercilessly subverts them.
Enter Juugo, our slightly meat-headed protagonist who has just run away from home and travelled to the ultra-modern island built according to the vision of one girl genius. When he moves into his modest apartment he finds out, to his horror, that it is already occupied by the ghost of a young, beautiful girl. Whatever will he do? Chair back, spin down brain, prepare for quirky love comedy where Juugo finds out who killed this girl and bittersweet love blossoms. First episode closing credits roll, commence disinterested “hmph”.
