Netflix’s Ghost in the Shell: SAC_2045 is Enjoyable, But Not in the Way You’d Think || Review

A brief spoiler-free review of the 12-episode 2020 anime “Ghost in the Shell: SAC_2045,” produced by Netflix, animated by Production I.G and Sola Digital Arts, directed by Shinji Aramaki and Kenji Kamiyama, and loosely based on the manga by Shirow Masamune.


A New Threat Emerges

The Synchronized Global Default changed everything about societies all over the globe. Now, in 2045, the economic disaster continues to impact the human race as the world enters a state of “Sustainable War” via AI technology just to keep money in the pockets of policy makers. But, as the Stand Alone Complex world continues to prove, people really do not possess any idea of the capabilities of these AI—as well as the potential threats to their own privacy and safety—while living in this rapidly accelerating cyberization age.

As a result of the economic fallout, Public Security Section 9 was kicked off government payroll and reduced to hired mercenary jobs out in the hot American southwest. Given the opportunities to engage their enhanced cyberbrains and combat skills, it’s not the worst outcome for full-body cyborg Major Motoko Kusanagi and her partner-in-crime Batou. However, the emergence of extremely potent AIs with remarkable intelligence and physical might, dubbed “post humans,” just might be the global threat Section 9 Chief Aramaki needs to pull the old team back together again.

Off-the-grid sci-fi action and cyber crime dominate the scene as the classic Ghost in the Shell: SAC story returns with this latest installment. Don’t count your Tachikomas before they hatch, though, as this is far from the sequel longtime fans have been waiting for. Overrun with loud action stunts and a hardly tactical approach to most combat, 2045 may be the weakest entry thus far—and the switch to all 3D CG doesn’t give much to boast about. But, this is still a Ghost in the Shell story, mind you, and any GitS is worth watching if you love this universe like I do.

major in the tachikoma

The Old Gang Reunited

With a new Ghost in the Shell comes a new look for the Major. Although she doesn’t carry the same maternal air as the original SAC‘s Major, I do really like the pretty and iridescent quality that this Motoko bears. It’s as if the short bob and rebellious spirit of Arise‘s Major met the violet, cool-toned and commanding authority of SAC‘s. While Batou largely retains the same figure, including his signature prosthetic eyes, Togusa’s new look suits him quite well. I wasn’t particularly happy about hearing that his marriage fell apart in the time since SAC 2nd Gig (honestly the biggest crime here), but at least the shortened mullet makes him feel like a fresh man.

Perhaps my favorite single part of Netflix’s crack at GitS doesn’t even pertain to character designs, plot points, or the music—it’s the dub cast. Somehow, Bang Zoom was able to track down the all-star cast of the original SAC dub, including the incredible Mary Elizabeth McGlynn as BOTH the dub’s director and the Major herself. Add in Richard Epcar’s rough-around-the-edges Batou, Crispin Freeman’s rich yet naive Togusa, William Knight’s authoritative yet flighty old man Aramaki, and Melissa Fahn’s iconically squirrelish Tachikoma voice and, ahh, it’s a wonderful nostalgia trip. Mary Elizabeth’s Major really does embody the soul of this franchise. It was only after hearing the old Section 9 again that I was reminded just how much I’ve missed this world.

So, as you can tell, I wasn’t one to hate on the new character designs. The characters themselves aren’t necessarily here to be dynamic so much as to be badass cyber soldiers and carry out the plot (except maybe Togusa), and to each their own on that. But, if there’s one major gripe I have about the characters, it’s the facial expressions, which is a perfect segue to the show’s biggest controversy: the animation.

section 9

A Bold Switch of Style

As you may have heard fans gripe, directors Aramaki and Kamiyama decided to have all of 2045 animated in 3D CG. In addition to story focus and heightened emphasis on explosive action, this changed visual style makes 2045 feel even more removed from SAC‘s old roots. At what point do we stop calling it a sequel? I don’t even know where to begin on this one except for with the negatives.

For one, the lip flaps hardly match the voice acting—this is consistent across the English and Japanese dubs. Lots of dialogue may be spoken, but the mouth hardly moves. Now, 2045 can sometimes get away with this since A) half the characters are cyborgs, and B) much of the dialogue is communicated via connection to the Net, thus no need for spoken words. But even the most human characters suffer from a general lack of expressive facial emotions.

My second big gripe is that everything is CG. From vehicles and landscapes to special effects and the hair on a person’s head, it’s all been animated using digital technology. This means that, when something is textured, it’s generally done well and with consistency. On the other hand, when there’s no texture work, it’s entirely flat to the eyes. The production feels cheap as a result, sometimes gross, even if I know that it’s actually decent quality CG work being done here.

That said, I do, in fact, like the way this series looks (shocker, I know). Sure, I would’ve liked a more traditional approach with 3D CG modeling being used for a minority of the production rather than the only technique, but this isn’t all bad. Japan’s towering skyscrapers and clean, futuristic architecture have never looked better in SAC than they do here. The Tachikomas shine brilliantly, and the action sequences are also entertaining and very well choreographed (even if they’re ultimately no more than added popcorn material). Chances are most people will dislike the CG, though, especially if they came in with expectations of the franchise.

major and tachikoma 2045

At Least it Sounds Great

Between writers and actors, it would seem that everyone came back to work on this universe again—everyone except for SAC series music composer Yoko Kanno. Thankfully, Nobuko Toda and Kazuma Jinnouchi carry the mantle of SAC with strong compositions in 2045. Between the jazzy interludes, lo-fi downtime, and high-octane cyber beats, I almost could’ve sworn it was still Kanno behind the keyboard. Toda and Jinnouchi also worked together on composing the score for Netflix’s recent Ultraman series, which may explain why 2045 also feels a little retro-punk at times.

As with the dynamic visual special effects work, the audio effects also fill in the sounds of this technologically advanced world. Whether the soft hum of a self-driving car on the highway, the relentless fire of Gatling guns, the blinking and honking of city sounds, or the digitization of bodies floating around in the Net, the sound design maintains a high standard across the series.

togusa 2045

Waiting for the End

From the occasionally nauseous CG animation alone, it’s easy to think that this is a poorly directed series. 2045 is also not as philosophically explorative as its predecessors; rather, it seems to look smart by skimming the surface without postulating the further impacts and implications of people living by and through the Net. As opposed to genuine curiosities or worries about our future with technology, 2045 favors absurd thriller tones to engage its audience. I wish it were deeper and more full of wisdom like the previous seasons were, but 2045 is not that story. Maybe it’s not that great . . .

BUT, I don’t want to lose hope because I did enjoy my watch. Heck, binging 2045 on Netflix in a SINGLE SITTING was loads of fun—questionable CG and all—and I only wish I could’ve listened to more of the Major and her team exchanging witty banter back and forth. For me, clearly, the dub alone made 2045 worth watching.

As it stands, this is only half the story, so I can’t completely say whether or not 2045 is worth passing on. With the second cour green-lit but yet to be announced, I await the end of this new story with cautious optimism. When that day comes, I definitely plan on joining the Major once again. If Ghost in the Shell is your thing, you may want to consider putting 2045 on hold until the entire series is out. Otherwise, strap in—this ride is already proving to be a bumpy one.

major batou and togusa 2045


You think I like this? There are too many unknown variables. It doesn’t smell right. But, then again, we always enjoy coming along with you for the ride—it’s the only reason we’re all here. — Batou


Afterword

If that last quote from Batou doesn’t encapsulate my feelings on Ghost in the Shell: SAC_2045, I’m not sure what does. Until the second half can solidify my opinions on this series, I’ll pass 2045 as a “Coffee” rating for now. It’s mediocre at most points, but when it’s good, you may just remember why you fell in love with this series to begin with. Have you watched Netflix’s Ghost in the Shell yet? If so, what are your thoughts? Given how optimistically I tend to view this franchise, I’m eager to hear about them. Otherwise, ’till next time!

– Takuto

Azur Lane: Ships, Sisterhood, & the Warring Seas || Review

A brief spoiler-free review of the 12-episode fall 2019 anime “Azur Lane,” animated by Bibury Animation Studios, directed by Motoki Tanaka, and based on the popular side-scrolling shoot ’em up mobile game franchise of the same name.

Enterprise and eagle union


War is Bad, PERIODT. 

The “Sirens” came without warning, decimating any ship on the open seas with their overwhelming, technologically advanced arsenal. To combat the alien invaders, a divided humanity rose in complete unity for the first time, forming the Azur Lane. Armed in their alliance, Azur Lane powered through their mutual enemy with revolutionary improvements to modern warfare. However, opposing ideals in future confrontation with the Sirens caused the alliance to split in two: Eagle Union and Royal Navy with Azur Lane, and Sakura Empire and Iron Blood forming the Red Axis. 

Although these nations continue to skirmish with one another on the high seas, schemes of independent parties within the Red Axis working together with Siren technology to dominate the world threaten all of humanity. As one particular soldier comes to terms with her own personality and ambitions, however, the hope for reuniting humankind may be found in some ideals that even war cannot shake: empathy, camaraderie, and sisterhood. 

In an attempt to find duality, the series goes about telling the “war = bad” theme by contrasting the pleasantries of daily life in both Azur Lane and Sakura Empire with the frustrations of conflict on and off the battlefield. (Spoiler alert, fighting ain’t much fun no matter which side you’re on.) I think this speaks volumes about the series’ viewership, though, as my favorite parts were, in fact, the high energy combat scenes. Chalk it up to my obsession with ship fighting in general, but when the girls are geared up for war, the show promises to at least be halfway entertaining. Otherwise, the plot itself is full of generic motivations and reveals on both sides of the tide. 

akagi and kaga

Iron and Steel—But Make it Fashion

While I’m no stranger to cute girls fighting with heavy artillery ALA Strike Witches, Girls und Panzer, and basic knowledge of Kancolle, I am a newbie to the Azur Lane franchise. The series markets itself under the sci-fi action and military genres, but spends far too much time indulging in forced yuri shipping and awkward loli lewding. (I mean, these are anthropomorphic warship girls—you already know the kind of audience they were tailoring this franchise to.)

The fan service is clear and abundant (and not really my thing). But, the core premise of iconic and historical ships clashing in what is at least to say a “unique” fashion is actually quite cool. Thinking back, were it not for the eye-popping and abstract character designs, I might not have stumbled upon this title at all. Seeing how the various ship parts come together to form a semi-feasible battlesuit must’ve required some intense layout and design work—especially for the more elite warships—so props to the character designers on this one. These characters may already originate from the game, but to make these girls move AND not seem overly clunky, man, hats off to ya!

character designs azur lane

As for the characters themselves, this is where Azur Lane starts to sink. I get it that franchise adaptations don’t want to leave a single girl out, but WOW, they really did just try and shove every single major and minor character into this one. And it shows, because aside from the stoic “Grey Ghost” Enterprise herself (given life by Rachael Messer’s powerful performance in the dub) and her few close companions (namely the lovely Lindsay Seidel’s benevolent Belfast, and Jad Saxton’s elegant Illustrious), I couldn’t really tell you a think about any of these girls. The sidelining in this one is so bad that you could practically take out the entire Iron Blood faction and the story would be the same. 

Oh ok, I suppose Amber Lee Connors’ cunning and devilish Akagi is worth an applause, same for Dawn M. Bennett’s strong performance as Akagi’s dear sister, Kaga, and Mallorie Rodak’s low and majestic Prince of Wales. On the other hand, I particularly found ALL of the lolis to be more annoying than cute, save for Tia Ballard’s Laffey and Lara Woodhull’s Ayanami, although that wouldn’t be a fault of any of the voice actors so much as children just being, well, children. As a whole, the dub is quite enjoyable, and the accent work is a nice touch. 

Illustrious

A Strong Soundtrack *Almost* Saves the Day

Where the story tanks into generic territory, the production value of Azur Lane helps keep things interesting. You can clearly tell that a variety of talents handled the animation in this show, cause oh man, when it’s bad it’s so awkward to watch—but when it’s good, it’s badass, and that’s what I want to talk about here. The best fight scenes in Azur Lane are on par with Fate/Apocrypha levels of fluid sakuga. Episode 8 is a standout particularly for both the dramatic tone shift in the story and the serious, high-octane battles that take place on these warring seas. 

On the music side of things, I love battle anthems, and Azur Lane is FULL of them! The OST is the strongest unsung aspect of this adaptation, believe it or not. Lots of epic orchestral tracks cue the opening shots of war, and each of the nations have their own culturally appropriate couple of tracks to accompany their respective atmospheres, Sakura Empire’s Japanese-inspired melodies being my favorites. It’s a shame I couldn’t find credits for the composer on MAL, but I would assume these tracks also come from the mobile game. Lastly, the OP theme “graphite/diamond” is full of great energy, and is unmistakably characteristic of the wonderful May’n!

Enterprise finale

A Game of Hit and Miss

Depending on what you’re coming into this show for, Azur Lane may land hard or miss the mark entirely. I heard that even fans of the game didn’t care much for the anime, but that’s besides the point. However generic the story and cookie-cutter characters feel, there’s a lot of interesting things being done on the production side. Additionally, the themes of family being crazy and soldiers finding purpose in life beyond fighting will always be captivating ones for me. Overall, I found myself engaged with Azur Lane‘s unique character designs and soaring string melodies, so I’d say it was entertaining enough. As for being memorable? Meh, I couldn’t give a ship.

warships


The truth is . . . war never changes. It’s exactly the same, no matter which era it happens upon. — Enterprise


Afterword

I was actually going to skip reviewing this one, but it turns out that I had more to say about Azur Lane than I originally thought. I’m glad to be able to watch and review a show that was sitting on my backlog, even if it didn’t turn out to be “the greatest” series by any means. Heck, calling Azur Lane anything more than serviceable might be overdoing it, but I’m comfortable with giving the series the “Coffee” label, a humble rating for mediocre titles like this one. If you stopped at the docks to give Azur Lane a watch, be sure to let me know what you thought about it down in the comments! It’s nice to be back in the review space once again. I’ve got more in store, so until next time!

– Takuto

Ultimate Luck and Hope & Despair: Danganronpa 2 as a Manga . . . From Nagito’s Perspective | Review

A brief, spoiler-free review of the 3-volume 2012-2016 manga “Danganronpa 2: Ultimate Luck and Hope and Despair,” based on Spike Chunsoft’s game “Danganronpa 2: Goodbye Despair,” art by Kyousuke Suga.


A Spin-Off Full of Despair

Sixteen students from the prestigious Hope’s Peak Academy suddenly awaken on a deserted beach. Their teacher, a white and pink “magical girl” rabbit named Usami, proclaims that their first assignment is to become friends with one another by means of touring the island and collecting hope fragments together. Storm clouds quickly gather over this isle of palm trees and blissful breeze when Monokuma, a sadistic bear of monochrome hue, takes Usami down and gives the students a new assignment: to kill one of their peers and get away with murder in the class trial.

To the victor goes the only spoil these teens want—escape from the island. The students swear to one another that they’d never commit such a crime, but as Monokuma slowly and meticulously introduces calculated motives that play on the whims and desires of these kids, temptation is given into, and blood is spilt.

Forced into this deadly killing school trip, what once was an island paradise has become a hell on earth. But when these poor kids find that they’ve been deceived far more than what is even imaginable, the very fabric of their world hangs on the thin threads of hope.

nagito hope

Greatly truncated for the sake of this review, this is the plot of Spike Chunsoft’s groundbreaking game “Danganronpa 2: Goodbye Despair,” and the sequel to the equally influential “Danganronpa: Trigger Happy Havoc.” But as you can tell, this review isn’t about the game; rather, we’re looking at the manga spin-off today. Instead of playing this survival game through the eyes of main character Hajime Hinata, we experience life from the view of Nagito Komaeda, the Ultimate Lucky Student, and the bane of the class’ existence.

The Ultimate Lucky Student

Infamous for his willingness to take his “friends” down yet beloved by the community for his twisted nature and bromance with Hajime, Nagito is a complicated human bound by irrational thinking and a moral compass that always points south. Above all, he believes in the talents of the Ultimates of Hope’s Peak, and the insurmountable hope that can arise from their collective efforts. Weird, I know, but it gets worse.

Placing complete faith in his ultimate luck and the hopes and dreams of his friends sounds like a good thing, right? Well, not when you add in that twisted personality part I mentioned earlier. He derives pleasure from inflicting pain, suffering, and humiliation on his peers, without a doubt, but only because he deeply believes that his friends are Ultimates—students handpicked by hope itself. That means that no matter the size of the despair, hope always comes out on top. This flawed logic of his causes him to create scenarios that put everyone at risk just to watch the Ultimates overcome the despair. After all, according to Nagito, their talent can overcome any despair.

So, not only is this scrawny emo a huge Hope’s Peak fanboy, but he’s also a nut job with more than a couple loose screws. The PERFECT player to have in a killing game, right?

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To give him credit, there’s never a dull moment around Nagito. In fact, many of the game’s most exciting moments revolve around Nagito’s lies and schemes. By packing the best reveals and most fascinating plot points into this short 3-volume series, you’ve got a spin-off that is anything but boring. Nagito’s trademark luck carries him through numerous plots and conspiracies—many of which he is directly involved with—at the behest of everyone else’s security.

Madness and Maliciousness in Manga Form

Danganronpa is one of the most stylish games out there, arguably more so than even the hit Persona 5. Its iconic gun-and-target imagery offers fun gameplay effects, sure, but the flashy courtroom gimmicks and screen-shattering special effects aren’t just for looks. The series prides itself with the class trials, the bread and butter of the franchise, and this motif of breaking through lies—shining through despair—to uncover the truth. And thankfully, Kyousuke Suga’s adaptation faithfully adapts this matter of style into the fast-paced panels of his manga.

That’s right. Most if not all of the crucial lines and moments are replicated nearly word-for-word in the class trials. Although we only get the first three (for reasons I can’t explain without entering spoiler territory), I was quite surprised with how full and thorough the trials felt, given the immensely short length.

Like anyone should be, I was skeptical about a measly 3-volumes doing Danganronpa 2 any justice. By limiting the story’s POV to that of Nagito only, however, you realize that the Ultimate Lucky Student’s time spent with the Ultimates of Hope’s Peak is short, perhaps, but immensely impactful.

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The only turn-off to this little series is the character designs. All the guys look anorexic, while the ladies have totally unrealistic “curves,” almost as if everything was somewhat over-sexualized. Even if the seemingly sloppy, disproportionate bodies and facial expressions feel uncharacteristic of the game’s original designs (which were boldly outlined and always on point), there’s beauty in the quirkiness of Suga’s style, though.

This lax, less faithful style allows for us to see character expressions and reactions that the game just couldn’t keep up with. A sprite system might feel more stable, but this adaptive style manages to keep up with the subtle dark humor and self-deprecation (given that now we’re Nagito) that I felt the game just didn’t. Suga’s work is much more organic and less “cardboard cutout,” literally, and it makes for a nice afterword piece to the franchise.

nagito and hajime.PNG

Why Should You Read This Spin-Off?

For one, it’s short. At three volumes, I finished it in a day and a half. Plus, it fills in some gaps of the game. During chapters two and three, Nagito is tied up (don’t ask) and unconscious (also don’t ask), meaning that while the others (namely Hajime) are experiencing the events of the story live, Nagito is playing catch-up. And boy does he do a damn good job at assessing the evidence of each crime scene.

Instead of running around and talking to our classmates, we enter Nagito’s nightmares and delusions of self-reflection. We see his fears, understand his motives, and get a better picture of why Nagito antagonizes his peers like he does. Much better than in the game (save for chapter 4), we get inside Nagito’s headspace and see what makes him tick, allowing the viewer to connect with him a bit more—even if he’s still a freak at the end of the day. You can practically regard this spin-off as cannon, as it never strays from the original plot, nor does it add conflicting details. That’s always a plus.

Additionally, we get different angles from the game. The “camera” shows us live conversations with multiple characters in a shot at different angles talking to one another, as opposed to the game where 2D characters are layered on top of a 2D backdrop. Plus, Kyousuke Suga just seems to understand that Nagito is not a character to be disgusted or hated all the time; Nagito is an oddball to the class, an anomaly that can’t always be understood, and I appreciate Suga’s more comedic take on Nags’ obsession with hope.

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Like Loki to Marvel’s Thor franchise, Nagito is a trickster that is fun to watch and frustrating to befriend, but undeniably inseparable from the equally quirky work in which he comes from. As such, it’s a real treat to have an entire narrative devoted to his character, even if it’s both a rehash of the game’s events (with a few dream sequences of backstory and inner monologues added) and, frankly, a series tragically short for its own good.

This manga series shows you some of the parts you wish you saw in the game, and it does so craftily without tampering with the existing plot. Is it for newcomers to the franchise? Absolutely not. But as supplemental material for those pining after anything extra to do with Hope’s Peak Academy’s 77th Class, Ultimate Luck and Hope and Despair is your stepping stone toward hope.

nagito waking hajime.PNG

Komaeda, you aren’t trash. If you died, or helped someone commit murder, it won’t give rise to hope. Just the opposite . . . it’ll wind up extinguising a ray of hope. ‘Cause . . . ’cause hope . . . is already shining inside you, Komaeda. — Monomi


Afterword

I had a blast reading this short little spin-off, especially given that I finished playing the second game right before starting this series. All the parts of this franchise connect together so intricately, so purposefully and creatively, and this manga spin-off is no exception. It’s extra material for sure, but if you love Nagito Komaeda’s guile as much as I do, you’re bound to love Suga’s work.

And can we talk about those volume covers?? The first two are so brightly colored and stylish with all the characters wrapping around from front to back, while the third is a haunting minimalist piece of Nagito looking like he’s preparing for the final show (if you know what I mean). I think Suga could’ve split volume three into two separate volumes, adding in more content from the ENTIRELY SKIPPED fourth trial, as the third book is nearly twice the size of the other two. Oh well, at least we got the series (in all its matte-cover glory) thanks to Dark Horse.

 

I doubt many of you will end up checking out this series, but if you do, I’d love to hear your thoughts on it! Although a manga series, I’ll give Ultimate Luck and Hope and Despair the “Coffee” rating for being a fun read but not an essential one. I believe the regular manga adaptation of the second game along with Ultra Despair Girls are coming out this fall, so I look forward to picking those up. Till the next review, this has been

– Takuto, your host

Majestic Prince: The Dumb, the Horny, & the Brave | Review

A brief spoiler-free review of the 24-episode spring 2013 anime “Majestic Prince,” animated by Doga Kobo and Orange, directed by Keitarou Motonaga, and based on Rando Ayamine’s manga of the same name.

izuru smile.jpg


Born to Fight

In the near future, humans have begun to live in space through large satellites connected via space elevator. It’d be natural progression for the human race to eventually leave Earth and migrate elsewhere, but hostile aliens launching attacks from the outskirts of Jupiter are making this progress a little trickier than humanity would’ve hoped.

To adapt in their new zero-gravity environment and combat the foreign belligerent threat, genetically engineered children known as “Princes” by the public eye are artificially raised and trained to pilot giant armed robots. These units, the AHSMB, are humanity’s last line of defense, and as the egocentric, lust-driven Wulgaru forces close in on Earth’s orbit, five young pilots from the academic city Grandzehle are forced to fight on the front lines—or die trying to defend their home.

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Majestic Prince tells a simple story. Aliens = bad are after human DNA so as to satisfy their hunt for life in the universe. Meanwhile, humans = good are trying to protect themselves from the invaders. I was really hoping for the anime to be at least somewhat more complicated than that, but I’m afraid that’s as gritty as it gets.

Following a lucky victory in the show’s opening episode, Izuru Hitachi and his classmates get a taste of what the battlefield is really like, as well as how society reacts to humanity’s “super soldiers.” After these first six episodes of training, the kids come to realize that their lives are much more complicated and meaningful than fighting aliens. They have become symbols for justice, the “Majestic Princes,” and although Izuru and his friends were not expecting this kind of life post-graduation, such is what fate *cruelly* delivered. 

In a series of 2 to 3-episode mini arcs, our heroic group of teens is given missions involving disabling enemy technology, fighting, or scouting out enemy territory. The goal: push the Wulgarian forces to the edge of the solar system. Despite inching closer towards liberation, each of these little victories feels hollow. Majestic Prince is most certainly a plot-driven series, but despite the progress, the story and all of the pieces that make it up just aren’t that interesting. Plot twists, when unveiled, are few and unsurprising, and the biggest reason for this lackluster delivery lies in the dreadfully written characters, both good and evil.

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The Fail Five (that’s literally their name)

Ok, it’s actually Team Rabbits, but regardless, I don’t really like these kids. Not that I have anything against them, but there’s quite honestly nothing about this cast that stands out. Izuru is the hero (or at least he desparately proclaims himself to be so), Asagi is the friendly-fire rival, Tamaki is the cute one (boooo), and Suruga is the annoyingly smart and techy one (UGHHH, I hate this guy).

The only one of Grandzehle Academy’s infamous “Fail Five” that strays from the mark is Kei, the constantly-tired big-sister-type that ironically sucks at anything home-ec. In any other show with this kind of cast, the hero would be paired with the cute one, but not in Majestic Prince. Instead, the series gives Kei unrequited feelings for Izuru, who’s denser than a brick to notice. I . . . kinda liked this scenario, but the execution is half-assed. The series abruptly ends with no emotional or romantic conclusion for our poor, purple-hued tactician. Talk about a wasted investment.

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At least the alien Wulgaru are nasty and cool, right? Hah, WRONG. This is probably the most boring cast of humanoid villains I’ve ever seen in a mech show. Characterized as manifestations of the darker side of human emotions, these pleasure-driven, war-hungry tyrants are only in it for themselves, which would’ve been fine had they served as more than just slaves to this destructive ideology. The Wulgarian elites possess half-hearted motives, and their emperor is a total snooze. He doesn’t do ANYTHING!

I would’ve loved to have seen the drama of betrayal commonly found in any series with a collapsing evil monarchy built up much more than it was, but I suppose even Majestic Prince‘s antagonists aren’t on the bright side.

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Visual Forte: “With Our Powers, Combined!”

Perhaps the animation is the most impressive thing Majestic Prince has going for it. The series is listed with having two production studios; I would imagine that Doga Kobo took over the 2D stuff, while Orange (Land of the Lustrous, Black Bullet, Dimension W) handled all the 3D CG mechas and space fights.

While the quality of the CG is actually pretty good (the mechas themselves looking faaaar more impressive than the Wulgarian blob creatures), the fight choreography can be hard to follow at times. Dramatic zoom ins and outs, constant spinning around the battlefield, no focal point to really anchor at—to be frank, it’s too much at times. You almost get space sick, if such a thing exists.

But, seeing as it’s a giant robot series, let’s talk about those for a sec. It should be the goal of any mecha designer to create a look that is both appealing to look at and memorable in some way, shape, or form. Each of the Fail Five pilot a mecha unique to their strong suits, stylized by mechanical designer Kouji Watanabe. Suruga likes guns, so he’s the sniper. Tamaki and Kei are protectors, so they make up the shield and strategist, respectively. Meanwhile, Asagi is that ninja/senpai figure, so naturally he wields a sword, and our hero Izuru is the fighter, hence fists, guns, and a mild combination of everyone’s skill set, really.

mjp mecha

This works really well for the audience. It allows the viewer to associate not only a color to these frankly unmemorable characters, but also their own unique AHSMB unit. Add in the crisp CG imaging and a little transformation sequence at the start of each battle and you’ve got a good routine going—a factor of many great mecha anime that few seem to acknowledge. Even if the characters all kinda have the same moe face, the distinctions on the battlefield marked by the varying colors, positions, roles, weapons, and unit designs make up Majestic Prince‘s visual forte: the collaboration between these two great studios!

As for sound, Toshiyuki Watanabe’s orchestral tracks add a classic vibe to this series—even if the visual effects are anything but. While I can’t recall any specific music moments (aside from the combat start-up sequence) that caught my ear, Watanabe’s OST adds another wonderful layer to this otherwise high quality production.

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Another One Bites the Dust

Half of Majestic Prince was boring; the other was unmemorable. Easily, its most interesting plot point was how such a society would view child mecha pilots—and that only lasted throughout the first half. My favorite episode didn’t even have any fighting in it; rather, it gave us insight into what the daily lives of these teens are like, and all the business they must tend to off the battlefield. Whether it’s repping a brand to gain financial support, volunteering community service at a daycare to ensure public trust, or even modeling for the media, these are realistic issues that most mechas wouldn’t dare to waste time on. And yet, that’s where Majestic Prince thrived.

But when you put all the pieces together, something still doesn’t fit quite right, and it’s honestly the characters that ruin Majestic Prince for me. First, the series insults its cast with unintelligently written dialogue. Second, these kids are dumb (a result of their terrible scrips!) and when they try to get you to laugh—cause you know, there’s always some sort of innuendo to be made with a bunch of horny teens around—you find yourself more so rolling your eyes. And third, the series insists on being funny, and yet when it tries to be, it gets worse. Some of the characters even drag porn into the mix just to squeeze a laugh out of the viewer. Straight up PORN. No, I’m not joking, and no, it didn’t work.

Had I been five or even ten years younger, maybe the series would’ve worked on me. But it’s very hard to pass Majestic Prince on anything when its story and characters are so obviously flat and dry. This is especially sad considering that its production values are pretty damn decent for its time, a combined effort between visuals and sound that clearly tries to salvage this wreck. At the end of the day, however, I’d still just prefer to leave this mess out in space—floating with the dust, and far out of my reach.

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I’m not fighting because I want to fight. I’m doing it to protect those who are dear to me. And because . . . I want to become a hero! — Izuru Hitachi


Afterword

Despite my misgivings with the show, I’m glad I finally gave Majestic Prince a watch. It’d been in my backlog (and on my shelf!) for what had felt like forever, and when at last I decided that the wait was over and plugged in the first disc, well, this is what happened. For all its dorky characters and dull plot points, I’m barely letting Majestic Prince squeak by with the “Coffee” rating. Barely. What saves it is its animated space fights, which allows the piece to at least be entertaining at times. Apparently there’s an OVA episode 25 and a film to follow that make the ending feel less abrupt, but I’m in no hurry to get to them, especially since they aren’t currently licensed.

Leave it to me to once again review a throwback that NO ONE asked for, yet I delivered, haha. What did you think of the Majestic Princes (or Fail Five if you fancy) and their valiant efforts to protect Earth? Be sure to let me know, especially if you thought better of the show! Thanks for reading, and until next time, this has been

– Takuto, your host

Izetta: The Fairy Tale That 2016 Slept On | Review

A brief spoiler-free review of the 12-episode fall 2016 anime “Izetta: The Last Witch,” animated by Ajia-do Animation Works, directed by Masaya Fujimori, and based on the original story by Hiroyuki Yoshino. 

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Die Letzte Hexe: The Last Witch

Back during the ages of old, a witch with pristine white hair wielded her powerful magic to protect her country of Elystadt, defending its people until her last dying breath. Years later in 1939, militaristic giant Germania invades a neighboring country, plunging Europe into a devastating war. Boasting far superior technological prowess in this industrial era, Germania sets her sights on Elystadt, a significantly weaker alpine country in the way of Germania’s great conquest.

To make matters worse for the tiny country, Germanian soldiers capture their princess, Ortfiné “Finé” Fredericka von Eylstadt, as she is heading to a decisive meeting with Britannia. When trouble aboard the transport plane breaks loose, another piece of precious cargo, Izetta, the last witch alive, escapes. Recognizing Princess Finé from a childhood memory, Izetta transforms a soldier’s rifle into a flying “broomstick” and rescues Finé.

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Now reunited with her princess, Izetta pledges to protect Elystadt from the clutches of Germania—just as the White Witch of legend once did—and with the last surviving witch on their arsenal, Elystadt hopes to turn the tides against the imperialist war titan.

Original projects excite me. There’s nothing more freeing than hearing a studio trying to bring together a story from the their own combined passions, and then seeing the results. Izetta was no exception. While underwhelming in its finale, Izetta provides a magical spin on a historical setting where a world war is fought . . . by a witch.

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What if a World War had a Witch?

Izetta is a bumbling little mess of emotions and crimson hair. She’s kind and overly humble, but often disregards her own well-being for the object of her affection: Princess Finé. Speaking of, our Princess of Elystadt herself is quite the noble woman. Just as Izetta, she’s loyal to her countrymen and responsible to a T. Respect is another quality that runs deep in the Elystadt family’s lineage (or at least the legend has us believe), but trust me when I say that Finé is the genuine article.

The two are a power duo, and many of my favorite scenes don’t revolve around the engaging combat, but rather the quiet nighttime conversations that are exclusive to the pair. Although they act selfishly so as to preserve the others’ safety, Izetta and Finé are undeniably a cool couple bound together by lore and destiny.

Aside from Izetta, Finé, and a young Germanian spy boy named Ricelt, none of the characters’ motives felt resolved, however. If this were an adaptation of a larger work, then I could understand why some details might’ve gotten left out. But Izetta is an original story with an entirely original cast, and to have interesting characters that serve little more purpose than to act as mere decorative pawns is a crime. If one character’s role can be performed by a separate entity and the story pans out the same way, then that’s a sign you should probably rethink your character count.

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Banking on Design: The Art of Izetta

Ajia-do isn’t a studio known for producing the most outstanding works (the most noteworthy to me being Emma: A Victorian Romance‘s second season), but they definitely did Izetta justice. The magical dogfights featuring Izetta flexing her powers are super fun to watch, as she enchants a variety of guns, swords, and missiles to fly by her side and “aid” her. All of the CG armaments gliding around the battlefield are well animated, and the background villages, landscapes, ballrooms, and regal offices are splendidly colored.

Speaking of colors, the character designs are surprisingly detailed and ornate, especially Ortfiné’s. BUNBUN’s light novel-esque character designs mirror the quality of Abec’s works of Sword Art Online fame. The hauntingly gorgeous ED theme “Hikari Aru Basho e” by May’n features the beautiful original artwork in an elegant slideshow fashion. As for the rest of the music, Michiru delivers wonderful militaristic anthems for on and off the battlefield. Overall, the soundtrack supports both the dramatic and the more lax moments of the series fairly well.

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For dub fans, Funimation’s got you covered with another high quality English script. Mallorie Rodak brings a nobility to Princess Finé that is very reminiscent of her lovely work as Space Battleship Yamato‘s Yuki Mori. Derick Snow’s young boy voice for the soldier-spy Ricelt was, wow, perfect, and Jad Saxton’s Sophie makes for a wicked antagonist, even if I dislike the character. I found Skylar McIntosh’s Izetta to be the weakest performance here, but even then I grew to enjoy her natural naivete that fits so well with the role.

The End of Magic and Fantasy

Amidst the hype of the incredible fall 2016 anime season (which included Drifters, Bungou Stray Dogs‘ 2nd Season, Haikyuu!!’s 3rd Season, and the phenomenon that was Yuri!!! On ICE to name a few), Izetta slipped by the radar fairly undetected. Its flashy moniker and simple yet exciting world-wars-meets-magic premise was pretty well received by fans that somehow didn’t have enough that season to chew on, although few stuck around for very long. (Don’t worry Izetta, I made time for you back then.)

After the first stunning and smart six episodes, the promises and high stakes let on by this thrilling first half see a weak follow-up (and even weaker conclusion) come the end of the story. The introduction of a villain, aside from the uninteresting Germanian emperor, in the latter half serves more thematic purpose than anything else. That is to say, the addition of an actual antagonist to directly oppose our titular witch doesn’t make this story of war any more exciting.

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Prior to this reveal, the series was building up to one big narrative conclusion: that war is bad. It’s not novel, but it certainly fits. Seeing as how there are radicals, spies, and heavy losses on both sides of the border, I would’ve been quite satisfied if Izetta had held a more neutral position.

But then they go ahead and say, “Aha, this new villain is TRULY evil,” and any hopes of an appeal to the enemy side are lost in the muddy trenches. Maybe that kind of story works for you, but I just wasn’t a fan of the big baddie because it didn’t feel like the finale Izetta was building up towards. As an original tale, you could’ve gone anywhere . . . and this is what you decided on? At least Izetta looked great soaring high in the sky on that rifle of hers—I’ll certainly miss our little witch and her magic, even if just for that.

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I, for one, am glad we saw the magic. It may not seem like much, but I think the fairy tale of the White Witch who appeared in modern times left something good inside the hearts of people all over the world. — Izetta, the last witch


Afterword

It’s been three years in the making, and it took receiving a physical copy of the Izetta Blu-ray as a gift from my brother to finally make the time for a rewatch and give this series a proper review. Even if I was disappointed with parts of the ending, the final sentiment of leaving magic behind and looking towards the future will always bring a tear to my eyes. More than not, I’m so happy this project became realized by the production team behind it—it’s a noble little piece, and an achievement in my eyes. Izetta: The Last Witch receives the “Coffee” rating, a title that you, eh, might enjoy, but I wouldn’t recommend like crazy.

Were you one of the few who stuck around to see the end of the magic, or did you bail out of the plane halfway like Finé did in episode one? Let me know, because literally no one talks about this series! Really, the show is kinda dumb, but it’s fun popcorn material if you just want to turn your brain off. On another note, I’m in the reviewing mood, so I’m hoping to churn out a few more before the inspiration passes! So, until next time, this has been

– Takuto, your host

WorldEnd — The Lack of Connection Between You and Me | Review

A brief spoiler-free review of the 12-episode spring 2017 anime “WorldEnd: What are you doing at the end of the world? Are you busy? Will you save us?”, also known as “SukaSuka,” animated by Satelight and C2C, directed by Junichi Wada, and based on Akira Kareno’s light novel series of the same name.

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At the End of the World

Awakening from a cryogenic slumber 500 years after his ferocious fight with a mysterious monster, Willem Kmetsch finds himself to be the last human alive. During his icy slumber, creatures of terrifying proportions known as “Beasts” emerged on Earth’s surface and destroyed the human race—all except for one, that is. Together with the other surviving races of this fantasy world, Willem takes refuge in the floating islands, living in fear of what terror still lies below. His new life feels lonely and meaningless, for all he has tied to him now is a number of odd jobs to merely get by.

One day, a surprise offer to become a weapons storehouse caretaker graces Willem’s presence, to which he takes thinking nothing of it. When arriving at this “warehouse,” however, he finds it not to be filled with guns and other arms, but instead a handful of young girls. And boy are they a handful. Connecting the dots, Willem realizes that these Leprechauns, though resembling humans, have no regard for their own lives, as they identify themselves as mere weapons of war. These are the weapons he was tasked to look after.

Becoming something of a father figure for the young Leprechauns, Willem spends his days watching over them fondly and supporting them in any way he can. Among them is blue-haired Chtholly Nota Seniorious, the dutiful yet stubborn eldest who is more than willing to sacrifice herself if it means defeating the Beasts and safeguarding peace. The two strike up an endearing relationship, and as Leprechauns are sent off to battle at the end of the world, Willem—who knows the tragedies of war all too well—can only cling to the hope that those who fight bravely will someday return home safe and sound.

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I remember this plot stirring up a lot of hearts back when it aired in 2017, but I found myself emotionally detached from not only most of the characters but also the story itself. It’s kind of like Seraph of the End‘s opening in that you are shown a deeply impressionable first episode (made notable largely for its music, which I’ll get to), and then directed to an entirely different story. For me at least, the show has a hard time of maintaining a particular mood, be it happiness, sadness, or somewhere in between.

It also quite honestly feels like WorldEnd is trying to balance so many different genres that it fails to excel at any of them. While it’s certainly not an action series, it wouldn’t be proper to label it as slice of life. But it does have enough excitement to be this weird sci-fi/fantasy blend, something that definitely makes it feel like a light novel adaptation. Romance might be a better genre category, but even then the dramatic intensity is ALL over the place, hardly a fit for a “true” story of love and romance.

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All the Lolis in the World Can’t Make You Relatable

Ready for me to break some hearts? Alright, well I’ll start with Willem, the story’s “hero” who falls for the girl doomed to a terrible fate. While I enjoy the message of defying said fate and cautiously yet optimistically gazing toward the future, I just couldn’t get into Willem’s character. Let me explain.

His unusual circumstances as “weapons keeper” places him with the undivided attention of all the lolicauns (heh, get it?). Each of their little problems are designed to unfold around him with the intent of unlocking a new facet of his character. Oh, so we find out everyone is afraid of him? Makes sense, he’s a human and a dude at that. But he’s a good cook? And he’s able to make them all love him through food? How convenient. But wait, he can also tune their weapons, a quality that is unique only to him. And we can’t forget that he’s a lover of little kids, a pro nurse, and a massage therapist, too. Plus, even though he can whoop all of these magical fairies in combat, he’s totally willing to die for them at any given time, OF COURSE.

Willem is just . . . too perfect, and I just couldn’t connect with him because of his overwhelming home-ec expertise. And speaking of disconnection, I never really cared for Chtholly, the lead female, as much as I was *supposed* to either. The two are cute together, don’t get me wrong, but I only recall like one or two instances where I thought their chemistry felt honest and true—and not being manipulated by the choppy plot lines.

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“Are you going to Scarborough Fair?”

Studios Satelite and C2C team up to animate this breathtaking fantasy world and it’s . . . alright? Aside from a few gorgeous landscape shots, the animation merely gets the job done. WorldEnd’s characters are drawn delicately, and the copious amounts of crimson blood that spill out during the fight scenes create quite the stark contrast (which I believe was the point). Given the lack of brazen fanservice we’ve come to see with these LN adaptations, the modesty here sure is appreciated. All in all, it may not be worth solely watching for the animation, but there is one production component that makes WorldEnd stand above the crowd: Tatsuya Katou’s soundtrack.

I’m a sucker for insert songs. They can hype up a scene to unbelievable levels and allow emotions transcend logic, a quality which can be tricky to master. But oh man does Tatsuya Katou have it down. Specifically here, he arranges traditional English ballads and folk songs as insert songs. Between the rich and powerful “Scarborough Fair” opening up this story’s curtains in episode one to the deeply resonate “Always in my Heart” closing out the final fight, it’s easy to be moved to tears. I still get goosebumps thinking about it. Both sung in English by the graceful Tamaru Yamada, these insert songs become perfect representations of WorldEnd‘s tragic duality.

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The rest of the OST maintains this same orchestral beauty: soaring strings, somber violin solos, cheerful guitar, blissful piano—a winning combination. Absolutely fantastic, and perfect for the fantasy atmosphere. Also worthy of mention is the series’ OP “DEAREST DROP” by Azusa Tadokoro, a song that easily made it into my personal music playlist.

For English dub fans, Funimation’s got you covered. Perhaps it’s because I didn’t exactly enjoy Willem’s character, but this isn’t my favorite Micah Solusod performance. Amber Lee Connors’ Chtholly definitely grows on you if you allow her a few episodes, though. Overall, I’m still curious about how the Japanese handled the emotional scenes, but the dub works just fine.

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Hinging on Feelings

Between a story that is neither this nor that and a bland protagonist that I just couldn’t seem to connect with, we’ve got a few touching scenes weakly strung together by a heavy reliance on the viewer loving the cast. The romance genre hinges on your attachment to (at least one of) the leads, making it almost entirely based on personal preference (to which I didn’t quite fancy here). At least it has some encouraging messages on embracing oneself through the process of change.

I wanted to love this anime with all my heart—after all, it was the talk of 2017 for quite some time. But in the end, a lack of connection—between plot points, characters, and myself as the viewer—prevents me from recommending the series unconditionally. There’s something special going on here, there really is, but I don’t think this anime adaptation showcases WorldEnd at its true best.

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I can’t find happiness, meaning there’s really no reason to pursue it. How can one pursue what they already have? Don’t you understand—I’m already the happiest girl in the world. — Chtholly


Afterword

I admittedly feel terrible for spitting on this beloved title. But if it makes fans feel better, I would like to check out the original light novel series some day, as I’ve heard wonderful things from people who are reading it. By the way, THAT TITLE THO. This is LN culture at its peak. For all those curious, WorldEnd: What are you doing at the end of the world? Are you busy? Will you save us? is rated a “Coffee” here at the cafe, a show that’s rich in all the right areas, and quite possibly satisfying if its characters can win over your heart.

Do you have any thoughts on this sweet little title? Let me know if you share some of the same disappointments or praises of WorldEnd that I do in the comments. I’d totally be willing to give this title a second try if given the reason to, so come and voice your thoughts on WorldEnd or this review! Thanks for reading, and until next time, this has been

– Takuto, your host

Game of Laplace: Rampo Edogawa’s Macabre Eye-Candy Playground | Review

A brief spoiler-free review of the 11-episode summer 2015 anime “Rampo Kitan: Game of Laplace,” animated by Lerche, directed by Seiji Kishi, and inspired by the works of author Edogawa Rampo.

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A Startling Wake-Up Call

Famous for his influence on Japanese fiction, mystery author and critic Ranpo Edogawa (romanized as Rampo) passed away a little over 50 years ago, and what a better way to commemorate the 50th anniversary of his death in 1965 than with a surreal mystery/horror anime loosely based on his stories? (Ya nailed it Japan.) That’s exactly what Rampo Kitan: Game of Laplace is, and although this series of brutal and bizarre crimes stems from an author known to write masterpieces, this clunky anime “adaptation” comes up short in just about every gruesome case. And somehow, I still enjoyed it.

Middle school student Kobayashi is framed for murder. He awakens in his classroom to find his teacher brutally mutilated, and the murder weapon dripping with blood in his hand. Any normal kid would be freaking out by now, but Kobayashi finds himself more so curious (and secretly thrilled) about this strange attempt to frame him. Watching out for Kobayashi’s well-being, a close friend named Hashiba joins the case as a willing accomplice to help prove Kobayashi’s innocence. Also roped into solving this twisted crime is Akechi, a lazy genius high school detective who immediately sees an interesting potential in the young accused boy. Desiring nothing more than to mix up his mundane life, Kobayashi pleads to be recruited as Akechi’s assistant, to which Akechi agrees to take him on—but only if he can handle the chaos that comes with disobeying the law.

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Game of Laplace‘s characters are simply too fun for the plot’s serious overtones. As much as the series tries to be a philosophical thriller, Kobayashi’s enthusiasm and Akechi’s frank lack of care always kill the mood. When viewed as a comedy, however, this problem is less apparent (which is probably not the intent but it just fits better no matter how you look at it). Hashiba’s one-sided (and unresolved) bromance with Kobayshi only makes his reason for always being with the detectives sillier, and once little-girl-lover and phantom thief “Shadow Man” becomes a member of the main cast, any sense of seriousness goes out the window. Heck, this crook wears a freakin’ PAPER BAG over his head to protect his identity! A true master of disguise, right? How can I not laugh at his constantly-dumbfounded expression??

Although the characters give this series a few too many laughs than it probably should have, there’s still a nice balance of chemistry between them. Kobayashi fawns over Akechi’s work; Hashiba blushes and stammers whenever Kobayashi acts too girly; police officers Kagami and Nakamura respect and deeply care for each others’ well-being; and everyone, especially Akechi, hates Shadow Man. (Look no further than episode six for proof of this. Even if you don’t watch the series, this episode is worth it if you wanna kill time for some damn hilarious dialogue.) So if it’s not the characters, what makes Game of Laplace not as great as it should be?

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The Problem with Telling a Good Mystery

From what I understand, in theory, every good mystery can be solved by oneself using the clues laid out before them. All of the necessary evidence should be placed fairly before the detective (in this case the viewer), and a decent amount of time should be given before the answer is revealed. Additionally, should a certain character need to solve the case, one piece of critical evidence will be withheld until the end explanation is made. Sounds about right, doesn’t it? Well, this is where Game of Laplace struggles hard, as there’s never enough evidence (or time) to find out whodunit.

Not only that, but the criminal or mastermind at hand rarely has any time to establish themselves as a character within the work. At most, you’ll get a ” Office Secretary” or “Construction Worker B,” and then the episode will move on to have Kobayashi quickly solve the case right after Hashiba gives a sensible hypothesis. It’s just a poorly written mystery series if that is truly the main goal, which is odd given that Rampo Edogawa is so highly regarded. (I’m guessing it’s a fault with the anime, not the original author’s stories.) As a viewer, I ended up just sitting through the series with my brain turned off, and while none of the reveals were particularly shocking, at least there was a coherent, albeit weak, story that weaves together the crimes.

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Making the Most Out of a Bad Situation

As I mentioned earlier, there’s a certain standalone episode six that I recommend even if you don’t watch the series. The reason for that is simple: Funimation’s hysterical English dubbing. Quick-witted and well-voiced, the quality of acting given to such a mediocre title truly makes the most out of this not-so-hot series. While a bad dub can ruin a show, a good dub can save one, and that by far is Game of Laplace‘s most redeeming quality. Newcomer Jill Harris has proven herself on multiple occasions that she can voice a cute feminine boy (like Kobayashi) without sounding “too girlish,” and Justin Briner as this doting “boyfriend” character with Hashiba is a great match. Throw in veterans like Eric Vale for Akechi’s aggressively low voice, J. Michael Tatum’s smooth-sounding Kagami, and Sonny Strait as everyone’s least favorite bag-wearing Shadow Man and you’ve got a wonderfully solid cast!

Stuido Lerche animates the world of Game of Laplace with just as much creative pizzazz, wacky checkerboard patterns, and bright colors as they do with all their titles. Like they did with the Danganronpa 3 anime (one of my favorites), the background characters are nulled out with a single color to truly seem like “background characters.” Not my favorite visual choice, as sometimes the culprits are actually these blobs of color, causing you to be reliant on voices alone (another reason for the dub), but it does result in an interesting style. The show gets its real visual appeal and absurdity from its investigation scenes where, in a fashion similar to superior mystery title Hyouka, each breakdown of the case is done so uniquely and creatively. This helps the show stay visually entertaining, even if the plot is a little out there. Also, butterflies.

Stick to the Classics

Nearly every mystery anime I’d seen before this one was better than Game of Laplace—but not all of those shows had a cast as fun as this one was. For a 50th anniversary project, I wish they had made an adaptation for a single one of his works, not a messy conglomeration of several. The series easily could’ve been better this way, and I bet more people would’ve watched a show advertised as “Rampo Edogawa tale brought to anime” than a series loosely based on a collection of works like “The Human Chair” and “Twenty Faces.”

This is going to be one of those shows that I enjoyed, but I can guarantee that most will not. The character humor tickled me just right with Funi’s dub, and Lerche happens to be one of my favorite animation studios. In other words, this series is only recommended to those thirsting for more murder mystery anime who have already exhausted the genre’s reserves in their desperate hunt. Watch Danganronpa, Hyouka, Higurashi, Rokka—any of those anime first; as the saying goes, “Stick to the classics” (ironic, I know). Then, only once you’ve thoroughly enjoyed what the genre has to offer, come stop by the Akechi detective agency for a laugh with old Rampo Edogawa.

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The harder the game is to solve, the more fun you can have, right?—Akechi Kogorou


Afterword

Not much to say here, especially since several character backstories and relationships remain largely unresolved by the end (hang in there, Hashiba). Like, Akechi is seen crushing up and washing down these white pills with the same brand of canned coffee all the time, but we never know why he does it . . . huh. Weird.

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Still, I downed this series like a hot “Coffee” myself here at the cafe, and so you’ll have to let me know what you thought about this series or my review down in the comments! It’s nice to be back for a quick review and not just an OWLS post, am I right? Not that I dislike writing them, but it seems like that’s all I write anymore, and I’ve got to change that! Thanks for reading, and until next time, this has been

– Takuto, your host