Devilman Crybaby – Ugly Tears, Bleeding Hearts, & The Pain of Modern Tragedy | Review

A brief spoiler-free review of the 10-episode winter 2018 anime “Devilman: Crybaby,” produced by studio Science SARU (and Netflix), directed by Masaaki Yuasa, written by Ichiro Okouchi, and based on the manga by Go Nagai. 

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A Wild Night Out

Akira Fudo is a crybaby. He’s always been, and he always will be. Akira’s high school career takes a trip to the wild side when his best friend from many years ago, Ryou Asuka, suddenly reenters Akira’s life. This surprise reunion excites Akira, but unfortunately, Ryou isn’t back so the two can play on the playground again. Instead, he informs Akira that hiding amongst the shadows of their picture-perfect reality are monstrous demons, and that soon the demons will revive to reclaim the world from the humans. To combat their brute, supernatural strength, Ryou has a plan: to fuse a human with a demon.

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Those who conquer their “literal” innermost demons can master the power over them. And thus, after violently loosing his innocence at an infamous nightclub rave suspiciously titled the “Sabbath,” Akira becomes Devilman, a being with the power of a demon and the heart of a human. Finally seeing the darkness that humans have hid for so long, Akira feels blessed to now be able to save others, but more so cursed because he will likely never be understood ever again. But he has Ryou, and for Akira, that’s enough to make the pain worth suffering. Or so he hopes.

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A Tragedy Fit for Our Time

By mere story alone, Crybaby is a masterpiece. Having heard the crazy amounts of praise that have been circulating already for a couple weeks now, this should be no surprise. It starts at zero, at everyday life for a young boy and his relay mates, and quickly escalates into a bloody, traumatic, world-ending experience for both the characters and the viewers. As a standalone piece of fiction, it’s a modern tragedy made fit for the decade—complete with its OWN FREAKIN’ CHORUS in the form of some swaggy J-rappers—a series that is and should be celebrated for the, might I say, “daredevil” tale it sets out to tell. So many countless symbolic, societal, and sexual metaphors make the story incredibly compelling, and the religious undertones work wonders in creating this gritty, larger-than-life epic.

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And the best part of all is that the series isn’t just “depressing” to be called tragic—rather, it lives up to the classical standards of Greek tragedy by existing to A) prove the faults in our own lives, B) present a heroic attempt at handling them, and C) leave us with a cathartic end to cleanse the insanity that just befell the cast. It’s a masterful formula from the humble beginning through to its apocalyptic end, and as the media outlet Polygon states, the finale is “beautiful, devastating perfection.”

The only [minor] problem with a story of this magnitude is that Crybaby has very little time to tell it: only ten episodes, to be exact. While the pacing for the first several episodes feels spot-on, there is a significant push, particularly in the last two episodes, that does seem rather hectic. To be fair, however, the gruesome content and big reveals in episodes nine and ten ARE time sensitive; dragging these plot twists and dramatic developments out beyond an episode’s time would ruin their effects. Besides, perhaps that rushed sense of mayhem is what contributes to the explosive, catastrophic nature of the Devilman franchise.

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Akira and Ryou: Cuter When They’re Young

As far as characters are concerned, I won’t go into much detail simply because half of the thrill stems from witnessing just who some of these characters really are, and exactly what they will eventually become as the plot edges further and further on borderline insanity. Akira Fudo’s deal with the devil surprises all those around him, sure, but his grotesque change conjures up more mental conflict than physical ailment. He’s honestly a gift to mankind who doesn’t belong in this cruel, cruel world, and as he teeters on the edge of his own humanity—of a dying hope vs. an unflagging despair—he realizes that, at the darkest roots of their heart, people can be even more vile, disgusting, and sinful than any demon to roam the planet. Compared to his cute, scrawny self at the series’s beginning, the superior antihero Devilman that Akira becomes is stronger in nearly every way—all except for that tender, still-broken human heart of his.

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Ryou’s fluffy, blonde-bowled, bishounen design may seem inviting, but don’t let that charismatic baby face fool you: underneath that puffy white coat is a deadly machine gun and cunning wit, both which are fully loaded at all times. From that first smooth car ride Ryou and Akira share together, you already get the feeling that Ryou is scheming something (as if the glaring camcorder he films on 24/7 wasn’t evidence enough). Still, he is doomed to a fate just as tragic as Akira’s—if not more so. Ryou is one baaaaaad boi, but I loved his development way too much to hate him.

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I Don’t Know How to Rate The Animation . . . 

I’m not kidding. Devilman: Crybaby has some of the downright UGLIEST animated sequences I’ve ever seen. From the hilarious attempt at depicting just how “speedy” devilmen can run to the blobby, disproportionate, and completely uncensored sex scenes, by visual standards, Crybaby is not a pretty-looking show.

But does an anime need to be “pretty” to have it’s own beauty? Absolutely not. Or, well, at least Crybaby says so.

You see, the series has this certain edge to it, a certain grit that is hard to explain. The animation outlines, for instance, are cleanly drawn and look quite fresh (faces in particular). But then you have the action scenes, which are just SO freakin’ bizarre to watch. Like, I couldn’t even tell you if some scenes were, in fact, “poorly animated” because the ENTIRE SERIES has that same exact look. The lack of detail in light-hearted moments (like Akira’s high school, or his quiet past) compared to the almost sickening actions of other demons and humans alike gave form to a style that I can’t quite put my finger on. It’s as if the animation is “untamed,” or “knows no bounds”—yet it all flows well as its own style within the context of the story. Not to mention that the compact 10-episode run and smart directing allow for each and every shot to carry some sort of secondary meaning, however unnecessarily violent or sexual or BOTH the risqué presentation seems to people.

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I, for one, felt that all of the overly grotesque scenes brutally tread some sacred ground of entertainment that hasn’t been touched in decades with a bloody tank. It’s a unique visual style that I frankly haven’t seen anywhere else, and it was depicted brilliantly.

But I Know I Loved the OST!

As I am currently writing this, the Devilman: Crybaby soundtrack is humming in the background for inspiration. What about it is so special? Well, it has great balance; it’s epic (“D.V.M.N.” – Main theme), startling (“Miki The Witch”), playful (“Wishy Washy”), intense (“Anxiety”), entrancing (“Beautiful Silene”), heart-pounding (“Smells Blood”), uplifting (“Prayer”), cathartic (“Pathetique”), and so much more. Composer Kensuke Ushio (Ping Pong The Animation, Space Dandy, A Silent Voice) knows how to write excellent orchestral/synth pieces, I tell ya!

There’s a little tune that is repeated throughout the entire soundtrack that can be any of the emotions listed above, so long is the right instrumentals is paired with the mood. My personal favorite IS a reprise of this gorgeous melody line, and it just so happens to be the very last song played in the series, the End of Devilman: Crybaby, so-to-speak. It’s appropriately titled “Crybaby,” and if it doesn’t move your heart to the point of tears, forcing you to recall Akira, Ryou, Miki, and Miko’s shared heartache and tragedy, then I’m not sure what will.

Oh yeah, there’s also a remake of the original Devilman opening included with the soundtrack, which, if you SOMEHOW haven’t heard yet, is SUCH A BOP HOLY SHIT. I STILL listen to it religiously.

The Destructive Darkness Within Us All

By Devilman:Crybaby‘s end, there is arguably no sadness left for the characters, no more tears to cry. It should feel complicated, as the amount of despair is simply undefinable. But instead, all you can wonder is how things got to this point, and how what you witnessed was, in fact, the end brought upon by humanity. The ending is completely unfair, yet it balances the scales with terrifying perfection. You could feel sad, or depressed, or enraged at how BLIND people can be, but instead, all of it feels pointless, as if nihilism just inducted you to suddenly became one of its patron saints.

The ending of Devilman: Crybaby is indeed a very empty one. And that very catharsis, that feeling of emptiness and pointlessness, is what lies at the heart of a well-written tragedy. 

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As happy and sad memories alike resurface for these two boys, Akira and Ryou come to realize that, without one another, life before friendship was boring and often cruel. It was lonely, and it was meaningless. But through the ugly tears they cry, the bleeding hearts they endure, and the tragic fates that they cease fighting against, the two learn to finally accept love, for it is really love, not hate, which makes the world go round. And so to tear up the ENTIRE world just to tell this seemingly small message—Yes, such is what completes the horrifically tragic Devilman: Crybaby as a modern masterpiece.

You’re crying too, Ryou-chan. You’re crying too . . .  – Akira Fudo

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Afterwords

Devilman: Crybaby is raw, brutal, yet oddly honest about its understanding of cause and effect and the power of compassion. It doesn’t forget to throw in a few laughs, though. As the community has already remarked, this show is ABSOLUTELY NOT for the faint of heart. This series showcases the worst aspects of humanity—of vengeance, overindulgence, paranoia, and immorality—and for many, that can be hard to watch (plus, it’s like, mega gory and sexual). You’ll be asking yourself “WTF is this even real?” many times, and you’ll feel absolutely disgusted with humanity. But have faith that there is a reason for the madness. I walked into this action series not knowing a lick about the Devilman franchise (aside from the old dub clips, heh heh) and obviously enjoyed the HELL out of it.

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If such disturbing material doesn’t bother you, then I’m sure you’ll also enjoy this wild ride through the bloody and the occult, as there are a fair amount of life lessons to be learned. I’m giving Devilman: Crybaby the honorary “Caffe Mocha” title because of its unexpectedly high emotional impact (you gotta love the indirect End of Eva references, too)! There’s a particular scene in I think episode 8 or 9 that absolutely wrecked me, and the powerful ending . . . wow . . . I’m sure I won’t be forgetting about that for a long time. If you are thinking about watching this anime, or have already seen it, you HAVE to let me know what you thought about it! I’m dying to dig the series back up, even though much of the hype has died down, haha! Let me know if I did a decent job by hitting the like button (I appreciate it!), and until next time, this has been

– Takuto, your host

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Ghost in the Shell (2017) Dives Deep Enough to Prove Itself a Fascinating, Engaging Ride | Review

A brief spoiler-free review of the 2017 live action film “Ghost in the Shell,” produced by Paramount Pictures and DreamWorks, directed by Rupert Sanders (“Snow White and the Huntsman”), based on the original manga by Masamune Shirow, as well as loose ideas from the entire franchise, especially the original 1995 film of the same name.


The First of Her Kind

In a future not too far from our own, people have grown to love technology. You can bet that anyone you run into on these cold streets will sport some sort of cybernetic enhancement modded to their body: prosthetic limbs, wired inner organs, or the trending metal-encased cyberbrain. These advanced augmentations were coded to grant humans more convenient lives: quicker, safer, and less cumbersome living.

After a horrifying terrorist attack, Major Mira Killian (Scarlett Johansson) transcends into the first of her kind: the stunning results of the first-ever brain transplant into a fully synthetic body. Now a cyborg soldier programmed to eliminate cyber crime, super hackers, and back-alley schemes, the Major is automatically drafted to hunt down the ultimate next-gen terrorist—one who is able to hack into people’s minds and puppet them.

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Suffering from a faintly growing illness of glitching memory fragments, however, the deeper the Major dives into this case, the more intense her glitches become. As the possibility emerges that her new greatest enemy might in fact belong to her blurry past, the Major arms herself for a treacherous night journey. Nothing will stand in the way of satisfying her human curiosity, as well as the inevitable reawakening of her soul to a life that was stolen from her.

A New Story

While I’ll admit that we’re looking at the film’s weakest part—the plot—first, it’s impossible to deny that this live action reigns as one of sci-fi’s more interesting films in recent times, and holds the gold for the best live action iteration of an anime produced thus far, granted that I’ve only seen segments from most of them. What we’re looking at here with GitS (2017) is a fairly well-structured story of self-discovery followed by revenge, a typical Hollywood formula that feels relatively topical compared to the franchise’s classic 1995 film, which explored the deep values of being human, artificial sentience, and of course, the vastness of the Net.

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This apparent shallowness works out because of what the film is aiming at, though; in 1995 we dove into present identity and the other weighted themes previously listed—the Major as she is existing, if you will—but in 2017, we’re instead considering how the Major would feel about her past (2nd GIG did this), and what her creation ultimately means for the future of humanity, about feeling disconnected because she lacks the background that everyone else has laid out for them. Dig too deep into the original content and you risk deviating from the main intent: a new story.

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How This Live Action Holds on its Own

We take a undoubtedly cliche ride with the Major as she discovers how she came to be, and it all clicks together wonderfully and feels unique because of how huge the title is, what it means to others, and the sheer number of comparisons that can be drawn between this seemingly shallow film and its deep, thought-provoking origination. Everybody’s experience with it will be different, and that notion makes it not only thrilling to watch, but exciting to talk about.

So the film DOES in fact deliver a fresh outlook on an already well-refined series, standing out from its manga, anime, and even video game counterparts by re-imagining the Major’s previous identity, something that purposefully remained ambiguous throughout the franchise. It was a bold, completely unnecessary “prequel” adventure, but now that it’s over, I can’t help but welcome it openly with an applause. GitS is all about varying interpretations, proven true by Motoko’s complexity in 1995 and the franchise itself, which has had several makeovers. The idea of re-envisioning shouldn’t feel new, but everything from its tone, emotional pull, presentation, and core writing should. Speaking of new faces, how does ScarJo hold up as the Major?

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Casting the Characters

Several races and colors collide in the astonishing multicultural world that the franchise is known for. I had no qualms with the casting before I entered the theater, and that hasn’t changed. Johansson is a white female actress playing a traditionally Asian character, but that’s in fact where most of the misunderstandings arise—Motoko Kusanagi embodies no one race, no one color, no one gender, and she probably never will. This was stated by 1995‘s director Mamoru Oshii, and for people to be throwing up their pitchforks in revolt of the supposed “whitewashing” is actually kind of pitiful. The context of the show allows for virtually ANYONE to play the Major, and given Johansson’s overly qualified resume for sci-fi action films, I’d hope people would rescind their bombastic comments.

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TL;DR I thought Johansson was not only appropriate for the role, but her performance was great considering that Rupert was aiming for the more hot-headed, brash, young Major of the Arise series. I prefer this Major to the 1995 one because she arguably feels more relatable.

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But just like she is in her many iterations, the Major is nothing without her Section 9 team, consisting of Chin Han as the very-human Togusa [insert comment about race being appropriate here], Takeshi Kitano as rough and intelligent Chief Aramaki (who actually speaks Japanese since English is hard for him LOL), Pilou Asbæk as the big ol’ softie Batou, and a “surprise” favorite actress of mine: Juliette Binoche as the compassionate Dr. Ouelet. To quote Guy Lodge (Variety), “A warm, wistful Binoche, brings more pathos to the role than the script strictly demands.” She makes my heart weak.

There’s a real chemistry to be felt between Dr. Ouelet and the Major, as well as between Major and Batou, and that’s something that they nailed to a tee.

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“We cling to memories as if they define us, but they don’t. What we do is what defines us.” – Dr. Ouelet

The World of the Future

Where its story stumbles a bit, GitS (2017) leaves your jaw dropped with its incredibly “exciting and elaborately designed future settings,” plunging you into a visually entrancing world where cyberpunk is clearly the hottest thing. My GOD, this show is everything when it comes to its unique visual style! They use a clever lighting system that projects the color palette of the original 1995 onto the vast metropolis, giving off a vibe that’s so cold and distant, yet very interconnected with the world at the same time. CG solograms (solid holograms) layered over a typical Hong Kong-like setting give the atmosphere a very futuristic edge to it that I simply crave. You can tell that a lot of love and respect was put into the film.

 

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My favorite part of this film were the iconic shots of 1995 and Innocence that were recreated and woven into the story: the shelling sequence, building jump, deep dive, water fight, geisha attack, tank battle, and more. It’s all there, and yes, the scenes do not feel “thrown in” just for the allusions, but well-placed for the story’s flow. It’s a visual style to be praised, and its action sequences and use of practical effects (not just CG, but actual, physical props like the geisha masks, thermoptic suit, prosthetic and cybernetic enhancements, and other costumes) give us artsy people something really freakin’ cool to grasp onto. The hard work that went into replicating the world of Ghost in the Shell, largely from that of the film-loving folks of New Zealand’s Weta Workshop for prop creation and setting design, was very much appreciated.

 

The Greatest Injustice

Here it is, my biggest beef with the show and it’s NOT EVEN about the film itself. It’s about how it’s being dished out, or rather, that some of it is not. Paramount and Dreamworks refuse to offer Clint Mansell and Lorne Balfe’s mind-blowing sci-fi soundtrack for sale. I understand that the movie’s box office reception was somewhat poor, but for crying out loud AT LEAST FINISH what you started. It’s a shame that a work of art, even if it’s controversial, cannot be appreciated in full just because it might not sell. These are million, probably billion, dollar corporations—it’s NOT too much to ask for by any means. There’s currently a petition going around for the soundtrack’s release (which I have signed), so hopefully we’ll see some change this way. If you value this show and artistic justice, please consider signing here!

If you stuck around for the credits, you’d have heard a remixed version of Kenji Kawai’s memorable main theme of the original film, a remix which I honestly prefer, as the drums in the second half give it a really epic feel! Again, love the throwback! All of the music adds to the gritty sci-fi tone.

Not the Last of Its Kind

It’s not very often that a sci-fi film will shift from a typical revenge mission to a cross-examination of cultures, intertwined human connections, and the irrefutable weight of family warmth. That in itself makes Ghost in the Shell (2017), despite its somewhat cliche story line, an incredibly unique experience. I’ve got nitpicks, but I’m more so thankful that I enjoyed the film beyond those glaring issues. It’s plenty entertaining, and if you look deep enough (or watch it three times like I did), you’ll surprisingly find deep, thought-provoking layers in the subtle actions of the actors.

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However much you enjoyed the show, there are bound to be more live action adaptions like it in the future—for me, that’s a hopeful thing, something nice to look forward to. This may not be relevant (not to spoil the ending here), but as a half-white, half-Asian lover of science fiction and the entire Ghost in the Shell franchise, I hustled into the theater prepared with an engaged mind, and left with an unexpectedly touched heart. It’s a show about doing what you feel is right—following your ghost—even if that challenges the world you live in and the people that once trusted you.

Because sometimes, like here, you make the right decision. 

“I mean, the character is living a really unique experience. She is a human brain inside an entirely machinate body. She is very brave to take a risk and give up everything she knows, everything that’s ever made her comfortable to discover the truth, to follow this calling. And at the end of the film really makes a huge sacrifice for the greater good of humanity. That, to me, was what was the major draw.” – Scarlett Johansson on the Major’s character

Final Assessment:

+ It’s A LOT better than I thought it would be for an anime live action; it only gets better the more I sit and think about it

+ Homages to the original material and the rest of the franchise are worked in fantastically

+ Visuals easily rival those of high-dollar action films; cool and damp futuristic atmosphere is established with excellent lighting; stylish designs and neat aesthetic all around; a very immersive world

+ Props, costumes, etc. layered beautifully with limited special effects for maximum potential; practical, physical props engineered perfectly

Ghost in the Shell is all about varying interpretations and new ideas, to which this is no exception; multicultural and multiracial world embraced

+ A fine movie if you ignore all the pointlessly controversial backlash nonsense, and this is coming from a hardcore fan of the original

– Story remains weakest part; revolves around somewhat predictable plot twists; boring antagonist; fails to explore Kuze’s Net and the world that could potentially await

– Major’s “strandy” hair can be a bit bothersome at times

– No official soundtrack release as of yet


Ghost in the Shell (2017) may not be an anime, but I’ll still welcome it here at the cafe as a “Cake,” a film that’s shy of master status but certainly worth watching for GitS or plain-old sci-fi fans in general! Despite it being an unfairly received film, I had the time of my life witnessing my Ghost in the Shell journey come to an end. It’d been a long time since I was that happy to see a film in theaters, and I’ll be coming out with a second post chronicling my loose thoughts on its reception, controversy, and the theater experience, so stay tuned for that!

I’m happy and proud to call this one of my favorite sci-fi live action movies of all time! PLEASE, let me know your thoughts on the film! Also, had you been familiar with parts of the franchise prior to, or did you dive in blind? I may be a bit of an optimist, but I enjoy hearing all sides. If you enjoyed the review, let me know with a “like” or a comment! Until next time, this has been

– Takuto, your host

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Diving Back In! A Lull in the Sea Premium Edition Unboxing

Hey café-goers, today we’ve got a little something special to take a look at! To be exact, this is NIS America’s Premium Edition release of Nagi no Asukara or A Lull in the Sea. With its steep price (which I’ll cover later), I have been skeptical on picking this up since before they even released it–In fact, you could say that this set is what pushed me to watch the sub on Crunchyroll! I consider this one of my top 15 anime (cause 10 just won’t do), and finally having it in my collection is a milestone achievement. Because I couldn’t just settle for the DVD version I bought a while ago, let’s dive back into Shioshishio and into my favorite box set of anime that I own!

~As a side note, shout out to LitaKino, the undersea maiden of this blogosphere. This one’s for you, girl!~

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IMG_1281Here is the front featuring the main poster (my favorite pic). The front and back both have a standard gloss texture to them, yet the chipboard is much firmer than any release I’ve ever touched. It’s higher quality than FUNimation Entertainment’s ‘limited edition’ boxes, and I dare say it’s better than Aniplex of America’s sets.

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Now, you’re all probably eyeing that attractively themed spine, which shows the English logo and decorative bubbles and swirls that line many of the walls in Shioshishio and Oshiooshi. That attention to detail makes this not only a creative set, but one with actual designs from the show instead of plain color patterns companies usually make. My favorite part would have to be the little sea slugs (they play a role in the show), aww, so cute! To complete the design, all of the blue parts are actually slightly raised and have this glittery shine and texture to them. They don’t show sign of coming off either, which just completes the package.

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Just like the side, the top features an engaging blue sparkly-textured design. This time, it’s the legend of the Sea God and his wife, which plays a huge role in the series. Again, the attention to detail makes this set not only gorgeous, but the designs hold meaning, too.

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I honestly was not expecting this artwork to be on the back, yet here it was, and now I love it almost as much as the front art! Same glossy texture as the front, and same high-quality printing, too. Love the bold colors of the sea and our ocean kiddos!

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Here is the open side with all of the contents. I’m diggin’ the variety of blues from light to dark. Tired of being teased? Alright, let’s pull out the guts.

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Here are the lovely (yet kinda unnecessary) three DVD-size cases which each house one Blu-ray disc. The episodes are divided evenly, which is a plus. Each case features the main characters, and while I enjoy seeing young Miuna and sleazy Lord Uroko on the third case, I wish we instead got Akari Sakishima, as she plays a huge role in the story (and she’s one of my favorites).

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And here are the insides of each case in the same order. I love their cheeky smiles on the third one and the lovely Chisaki in the middle. More beautiful water color-looking artwork, which I am a huge fan of. Each of the discs feature the same artwork as their respective cover, so I didn’t bother to snap a photo.

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I’m honestly speechless here. Just wow, artwork, wow. As much as the text disturbs the masterpieces printed on each case’s back, I do appreciate the episode and extras listing. That helps me navigate around a lot easier. But yeah, that environment is truly magical.

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Ooh, now I really love this. Soundtracks one and two are stored in this DVD case which features the Shioshishio school’s music room. Melancholic yet entrancing at the same time, and same goes for the accompanying pamphlet that is decorated in more environmental porn.

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Here’s the backs of each one. Lyrics, song listings, and more environment. Now this takes me back to Nagi-Asu‘s world.

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The discs feature the same design yet with inverted colors. The back of the case paper shows two full-shot scenes, and every time I open up the soundtrack, I’m tempted to flip that paper so I can see the inside more! The soundtrack, by the way, is easily one of my favorites. It’s chill enough to pop in anytime while cleaning, cooking, reading, or just walking around. OPs and EDs are also included, though only the TV cuts of them.

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IMG_1271Gah! The artbook! It features the main characters on the front and back, and sports a glossy cover. The binding and horizontal makes the book really easy to open. The fact that it is indeed horizontal puts many other artbooks of mine to shame, especially Sentai’s Chunibyo book. The contents are good, but that other one is a pain in the rear to keep open flat. Wanna know what’s inside?

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I have it in slideshow version, but the book is loaded with character designs and profiles, episode summaries, commentary with the creators, and environmental porn. Lots, and lots, and lots of pretty visuals of the props, landscape, and setting. I only wish there were more full-paged pictures, but alas, having it all on print is more than enough for me to trip through nostalgia land.

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What’s this?! A sideways flag!? If you order from NIS America’s homepage (link at the end), they’ll throw in a smaller replica of the Ofunehiki flag that Hikari held up and Miuna fixed! Isn’t that awesome? And it’s FREE while supplies last!! For the layout, it’s as if they took two flags together and stitched them front to back so that A) it’s double the thickness and B) the design is fullproof on both sides. While I have a barrel of fun waving it around (heavy duty flag material makes it indestructible), you’ll want a nice place to perch it. sadly, the wooden rod that holds it up is a bit too short, but hey, you can always pull it off and hang it/frame it somewhere, right?

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Isn’t this the most gorgeous set you’ve ever seen? But you don’t just have to look at my photos–Purchas your own at NIS America’s site HERE or over on Rightstuf.com HERE if you frequent that place like I do. If you want the awesome flag, do it from NISA (I also didn’t have to pay for shipping because it’s over $75 or tax for some reason). It’s about $144 on NISA and about $153 on Rightstuf.

Now, that’s not a budget for everyone, and I totally get that. Only, and ONLY, purchase this set if you are an absolute fan of the series, and are wanting to rewatch it. This Blu-ray set is regions A and B with English and Japanese audio and all 26 episodes, so none of this Part 1/Part2 bullsh*t. If this anime was only mediocre to you, but you are interested in seeing the dub (which I wholeheartedly recommend, this dub is incredible), try Crunchyroll’s premium service, as they have the dub and sub for their premium members. That, or the DVD versions by NISA, which yes, are Part 1 and Part 2 and only come as regular DVD cases with a mini insert pamphlet. Here’s the dub trailer if you’re mildly interested:

I hope you enjoyed this slight change of pace from the café before I make another huge announcement! I love everything about A Lull in the Sea, and even wrote about it RIGHT HERE if you happened to miss it! I think it’s my most viewed or most liked review. I think. In fact, I met many of my best blogger friends through this show/review, so here’s a big thanks to all of you supporting me and to P.A. Work’s stellar anime and NIS America’s fantastic release of A Lull in the Sea!

My siblings and I just completed this anime as part of our 2016 Summer Movie Theater and absolutely fell in love (for me, it was all over again). You can read about that here! Comment below any questions or thoughts about this set or the show itself. If you feel the need, share it with a friend who happens to love Nagi-Asu like we do (I’d appreciate it ^.^), and until next time, this has been

– Takuto, your host

 

30-Day Song Challenge Day 22: A Song That You Haven’t Listened To In A While

Hello all, yes I know I’m another day behind (darn homework), but like usual I’ll post day 22 and 23 tonight. Sound good? Great – Let’s get into more music! As soon as I read today’s prompt I immediately had this one figured out. It’s actually the entire soundtrack from a movie which you can probably tell which one by the cover picture, but I used to throw this on in the background during my childhood. It’s sat on my shelf with the dust bunnies since 😥 AH MY INNER CHILD, SEND HELP

From Pokemon: The First Movie, Music From and Inspired by the Motion Picture (aka soundtrack)

Feel free to browse the soundtrack and be reminded of Pokemon’s beginnings, even though most of these songs have nothing to do with the franchise 😛 ***Asteriks will indicate my favorites BTW (we loved the upbeat jams)

  1. ***Pokémon Theme – Billy Crawford
  2. Don’t Say You Love Me – M2M
  3. It Was You – Ashley Ballard and So Plush
  4. We’re a Miracle – Christina Aguilera
  5. ***Soda Pop – Britney Spears
  6. Somewhere Someday – *NSYNC
  7. ***Get Happy – B*Witched
  8. ***(Hey You) Free Up Your Mind – Emma Bunton
  9. Fly With Me – 98 Degrees
  10. ***Lullaby – Mandah
  11. *****Vacation – Vitamin C
  12. Makin’ My Way (Any Way That I Can) – Billie
  13. *****Catch Me if You Can – Angela Via
  14. ***(Have Some) Fun with the Funk – Aaron Carter
  15. If Only Tears Could Bring You Back – Midnight Sons
  16. Brother My Brother – Blessid Union of Souls

Holy crap, the nostalgia is destroying me. Everyday during my pre-teen years, my brother and sister and I would hike up into the top bunk of my bed, which had no mattress. Why? Because it was the “Pokeclub,” a group of us three that met every summer morning, bright ‘n early, to make Pokemon-related paper crafts that I designed. We’d laugh, draw, watch episodes on tape (and DVDs when they later came out) and of course, love POKEMON! But this soundtrack was our morning bell; each day, I’d plug in the disc (or rather just hit play) and the famous anthem would blare down the halls, signaling to everyone that the club activities were about to commence. We’d bring our Pop-Tarts and cereal and start coloring, and that was that. How much I wish I could turn back the stubborn hands of time 😀

And there’s a trip down memory lane! See you in the next post ~

– Takuto, your host