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.

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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.

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.

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.

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.

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.

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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

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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

United We Stand in Ghost S.A.C. 2nd GIG| Review

A brief spoiler-free review of the 26-episode winter 2004 anime “Ghost in the Shell: Stand Alone Complex 2nd GIG” and its recap 2006 film “Individual Eleven,” produced by Production I.G, directed by Kenji Kamiyama, based on the original manga by Masamune Shirow.

Cafe note: I reviewed the first season right here, so check that out prior to reading this. Many thanks, happy reading~!

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Back to the Cybernetic City

With the Laughing Man’s agenda terminated by Motoko Kusanagi and the gang, Section 9 is no longer forced to operate in the shadows. Taking an interest in the way the brutal hunting force operates, Japan’s newly elected Prime Minister Kayabuki re-establishes Section 9 as her final attempt to fend off the latest rounds of cyber-terrorism, and find a party whom she could trust her life with. This new deadly collective, “The Individual Eleven,” has led a string of seemingly unrelated terrorist plots and assassinations across the nation.

Just as the Major and Chief Aramaki begin investigating into these gruesome cases, however, the Japanese government faces a forced confrontation by the alarming build-up of foreign refugees who were ousted from their homes during the Third World War, and are now seeking asylum in Japan. Section 9 attempts to juggle both crises, but their constant bumping heads with Kazundo Gouda of Cabinet Intelligence Service leads the Major to suspect he may be even more tangled up in the mess than the “enemy” is, and that perhaps both The Individual Eleven and the refugee crisis are just two parts of one titanic movement.

The Stand Alone Complex branch of the hit Ghost in the Shell franchise returns to the scene to reaffirm that everything, be it physically or digitally, is interconnected by the pushes and pulls of a techno-dystopian society.

Picking Up Where We Left Off

S.A.C. 2nd GIG wastes no time in welcoming us back to its inner universe. Unlike its predecessor, 2nd GIG features a clearer, more concisely written story. It achieves this by appropriately placing its “stand-alone” episodes within the timeline in less-congested areas of heavy plot action. Sticking to a story written in sequential order, 2nd GIG feels a lot easier to grasp, even if the characters themselves are more “complex” this second time around. I can see why fans acknowledge this series as the superior one not simply because the visuals are upgraded, but the linear way in which the story is told—even if the concept may not rival that of a wizard-class super hacker—seems more straightforward. Either that, or it just took me 26 episodes prior to get used to Kamiyama’s directing.

Critical characters to not only the series but the franchise as a whole are introduced quickly and efficiently, these namely being Kayabuki, Gouda, and Kuze, the eventual leader of the refugee camp and a mastermind in guerrilla warfare, both on the battlefield and in the net. Watching Kayabuki crumble before but endure the weight of those dirty politicians and back-alley deals emphasizes one trait that defined the Major as such a relatable character for so many: the strength of women, and the power, beauty, and grace that comes with enduring unfavorable outcomes and situations. Ghost in the Shell, like much of entertainment, explores the notion that life is one big power struggle; it’s as unavoidable as the rising moon or the flowing tides.

New, Twisted Faces

Speaking of power, Gouda is clearly not meant to be a likable dude. His *literally* twisted face should be an indicator of his reliability. He’s a competent and sophisticated man, using people and manipulating scenarios like he does with data. Though he’s got several tricks up his sleeves to be used against all of the pawns in the game, including the Major, his sheer level of skill and sneering wit make me MELT with a swelling love for his character. And John Snyder, his English VA absolutely knocked the role outta the park! We honestly need more intelligent rivals like him in anime; he’s a dick, but that’s what makes him so fascinating. Gouda is always one step ahead of the game, and stacking the deck is the only way to secure a trump card in this dirty world.

The Major’s foil finally manifests in the form of Hideo Kuze, an calm yet equally interesting antihero who holds a similar background. While I cannot mention too much without spoiling, I will say that he’s just as calculating as Motoko and Gouda, and perhaps more skillful and inspirational than both of them on a personal level. He’s quite interesting, so let his words sink in . . . everything he does is for the people . . .

Aside from the Major’s few moments, those members of Section 9 that did not previously have an episode for their own backstory (Pazu, Saito) receive one now EXCEPT for poor, poor Borma, the fat guy. While the Tachikoma’s return with more amusing exclamations and ideas, Togusa takes takes the back seat for this ride. One of these days we’ll get the backstory details and spotlight that they ALL deserve, but that time is sadly not now.

Improved Presentation Transcend S.A.C.

The two-ish year gap between each series really does reiterate the fact that Production I.G is the king of science fiction anime. Most of the characters receive new outfits and gear, all of which show off their differing personalities. The Major’s transformation from light gray and white to a dark gray and black skintight suit add contrast to the series’ new tone, a perfect match for some of the unsettling truths regarding the Major’s past. Her leather trench coat and obsidian visors complete the look. Besides the returning overly impressive architecture, it’s all the tiny details in character design that make 2nd GIG a fashion show for our models, both the sleek and the grungy alike.

Kanno returns to add that techno-blues/cop show soundtrack from the first season. Many of the tracks were even reused, so it’s not an entirely “new” OST. The epic action music in particular was done better this time. Where she doesn’t stand out in background music Kanno definitely makes up for with the new opening “Rise,” once again sung by the lovely Origa. “Rise” is the epitome of cyber punk trance dubstep, a song that hypes itself up with its intense beat, ascending chord progressions, and deep lyrics. Exhilarating stuff!

Since the characters remain largely underdeveloped in terms of background info, many just watch the show for its intriguing story, to which I point you toward the 3-hour (eek) recap film titled Individual Eleven that hones its focus solely on the core case from beginning to end. It is a recap, however, so all of your favorite one-off episodes are not present, and a lot of cool detours were cut, such as a fatal mission flaw by the Major that made my heart skip a beat. I give the same caution that I dished out last time, though—Individual Eleven features an entirely different English voice cast. While the wonderful Mary Elizabeth McGlynn, Crispin Freeman, and now John Snyder should never have been replaced as Motoko, Togusa, and Gouda, respectively, the new cast largely remains serviceable.

United We Stand – The Individual VS Society

Ghost in the Shell S.A.C. 2nd GIG continues as a more light-hearted cop-chase approach to the original 1995 film, and by this I mean that it is less about self-reflection and more geared towards the interactions people share with others. It’s also no laughing matter, either, presenting the sadness of war, and that in the near future warfare is still terrifying and tragic. 2nd GIG resumes its heavy, confusing political drama, but its new emphasis on securing a cyber body through the black market is neatly explored with greater depth, ironically “fleshing” out the world.

The sequel to the beloved Stand Alone Complex is a successful piece of science fiction and sociological analysis. It’s a series rooted in the effects of technology on people, be it the goods, bads, or really bads. Sharpening its linear storytelling and enhancing its setting and character designs, one really shouldn’t stop at the first season—continue to uncover the fate of Section 9 as the original story intended!

“The refugees have given me countless names. I joined forces with them with the intent to save them. But maybe the real reason I united with them was to keep the loneliness at bay.” – Kuze

Final Assessment:

+ Story told sequentially with with focused, linear direction

+ New character designs are more appealing; Major’s new look

+ Production I.G upped their game again!

+ Both Gouda and Kuze are excellent characters

+ Explores the pillars of social order through a cool story; the war on terror continues

– Section 9 members STILL don’t get the backstory treatment they deserve

– Recap film English dub remains pestering

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GitS S.A.C. 2nd GIG also deserves its “Cake” title (4/5), a must-watch if you’ve already started the first! It does require a great amount of focus and minor understanding of corporate politics, though. Thankfully the action weighs well against the political banter. What did you think of the Individual Eleven story, and did the recap film aid in your understanding as it did mine? Let me know, and until next time, this has been

– Takuto, your host

Still lookin’ fresh, Batou and Major

No Man Laughs Alone in Ghost S.A.C. | Review

A brief spoiler-free review of the 26-episode fall 2002 anime “Ghost in the Shell: Stand Alone Complex” and its recap 2005 film “The Laughing Man,” produced by Production I.G, directed by Kenji Kamiyama, based on the original manga by Masamune Shirow.

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City of Steel, Bodies of Iron

It’s 2032, the cyberization age. Because most brains are now encased in a metal mold, people can access the net just by thinking and slide into mechanical bodies through a connecting cable alone. Walk along the streets and one would find fleshlings, cyborgs, and robots alike coexisting as if it were commonplace. The power of the net has virtually blurred the lines between the physical and the digital, which can breed both terrific convenience and terrifying crime. Completely ineffective in halting cyber crime, as it typically is, the government has hired Security Division Section 9, a group of ruffians specialized in taking down hackers and terrorists alike.

Led by their Chief Daisuke Aramaki and Major Motoko Kusanagi, this small squad rules the shadows and grungy back alleys in an effort to clean up the city. When a great super hacker dubbed the “Laughing Man” rears his head once again after 5 quiet years, however, the Major and her troop face what could be their greatest social threat yet. Unlike their most recent cases, this one proves to be not as simple as SHOOT + LOAD + REPEAT, but rather an intense chasing game of CTRL + ALT + DELETE.

The iconic franchise and its much-loved figurehead return to the streets after a silent 7 years since the groundbreaking film’s worldwide release in 1995. While it’s neat to see the title reinvented into a series, I found all of the GitS films, recap or not, to be far superior to the series. Before I go further into the franchise, let’s evaluate Stand Alone Complex and weigh its own merits.

It’s Not like the Movie, and that’s Perfectly Fine

This pun has already been pitched a million times, but to aptly put things, many of the episodes of Stand Alone Complex are, well, stand-alone. These episodes all tackle the lives of individuals of all all social classes, and how they interact with society and the Section 9 crew. The true underlying story is only tossed here and there as hints before the grand finale. Unlike the 1995 classic, which honed in on the psychological balance between human and cyborg, both of the GitS series challenge society instead, providing much sociological questioning such as “how much can people be “cyberized” before it’s no longer a human society,” or “whether the net truly brings people together or tears us apart.” Because it was less egocentrically based, I found myself less prone to self-discovery, but more open to social understanding. It’s a bit of a letdown at first, especially since the Major’s self-reflection is what sold me to begin with.

Where the plot may stumble and confuse, the characters provide entertaining banter and motivation. Being a more light-hearted approach to the franchise much like the original manga was, it’s appropriate to chuckle here and there at the strong man Batou’s unfortunate misdemeanors around the still-intelligent Major, or admire the human normie Togusa’s total dad bod. The presence of the cute Tachikomas, blue insect-shaped and car-sized robot AI, helped to not only alleviate unnecessary government actions that frustrated me, but also provide that quintessential self-pondering of being a robot vs a lifeform similar to what the Major dealt with in 1995. They’re annoying at times, but they remind us as to the joys of feeling alive.

A Stunning Sci-Fi Story and World

People watch this show for the genuine Section 9 crew and for high-paced, explosive combat layered with a complicated cop show setup. For its 2002 release, SAC has aged remarkably, providing some of the most engaging sci-fi action that rivals today’s anime fights. What ultimately brought it all together was the world itself, though. The towering skyscrapers and low, wrap-around market places give off a bustling effect to Newport City. The occasional gray sky and drizzly weather is almost enough to take one back to 1995, and the traffic—my goodness, all the road traffic! What a headache! Watching the characters drive from location to location allows Production I.G prove that they are the masters of anime architecture. The complex interwoven highways and cars almost act as a mirror of society itself, in that we’re ultimately all just a small part of the great flow.

Story-wise, it’s quite complicated, honestly. I held off on any Ghost in the Shell until I was older simply because I felt I wouldn’t be able to enjoy it fully without encompassing a greater intellect. (I’m still no genius, though.) To assume one has to be smart to enjoy this series isn’t true at all, but when it came to all of the political nonsense between government officials and sketchy deals, it is a lot to consume, I’ll admit.

Much of this can be negated, however, if a person checks out the 3-hour (yikes) recap film that reorganizes the Laughing Man snippets that are littered throughout all 26 episodes and places them into a more logical, sequential order. The [sadly] very few valuable backstory spotlights of Section 9 members are lost, but if one’s just in it for the core story, then this recap film satisfies immensely. The only caution I can give is to those who prefer English dubs; The Laughing Man features an entirely different vocal cast from the series, and while it is utterly DISAPPOINTING to hear brilliant actors Mary Elizabeth McGlynn and Crispin Freeman replaced as Motoko and Togusa, this other cast doesn’t do a bad job. Nope, not at all, and these are very large shoes to fill.

While everyone praises Yoko Kanno for her sheer masterpieces of music, Stand Alone Complex is not her most memorable work for me. She keeps with the flow of light dialogue and adrenaline-filled action, balancing the two just fine, but I can’t recall any specific tracks besides the opening, “Inner Universe,” sung by the late Origa, a piece of music that perfectly captures the ENTIRE franchise. Its haunting yet entrancing beginning put me in full-dive mode every time. It’ll live on with the likes of “A Cruel Angel’s Thesis” as anime’s bests, and rightfully so.

Let Me Walk Away Laughing

It’s no surprise that SAC is different than 1995: different directors, production date, arcs adapted, character introductions and routes taken, etc. What hasn’t changed is the same powerful studio behind the project and the unwavering calculations of the Major. Ghost in the Shell is a franchise that explores possibility through the unification of humans and technology. It also shows us the worst case scenario—its abuse, and how that turns people off from all things cyber entirely. SAC‘s first season is a little hard to understand thanks to its divided attentions, but so long as you trust in the Major’s new face and follow your ghost, you may walk away having thought of something new, and that’s what sci-fi is all about.

Batou: Nowadays . . . people entrust their memories to external devices because they want to set down solid physical proof that can distinguish them as unique individuals . . .

Motoko: A watch and weight training gear, both of us have clung to useless scraps of memory, haven’t we?

Final Assessment:

+ This incarnation of the Major can be just as meaningful so long as you have an open mind

+ Emphasizes that Production I.G is king of city architecture and sci-fi worlds

+ Works in sociological approach that defines the franchise today

+ That opening combined with all the fluid combat gets the blood pumping

– Such a lovable cast deserves greater backstories

– Overarching story is hard to follow, but recap movie helps

– Missing out on series dub in recap film

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Stand Alone Complex is welcomed at the cafe as a “Cake” title (4/5), one too sweet to miss out on if you have the time! It does require a great amount of focus and minor understanding of corporate politics, though. Sometimes the intermixed action sequences were the only bits that helped me stay awake! SAC has been around for YEARS now, so what do you make of the series? Did you enjoy the Laughing Man story, and did the recap film aid in your understanding as it did mine? Let me know, and until next time, this has been

– Takuto, your host

Batou, his Tachikoma, and Major. Stay fresh, Section 9.

End of February Update 2/28/17

So I failed the 4-post-per-month plan yet again, but the defeat doesn’t seem as crushing as it was last month. Perhaps that’s because of my involvement with the OWLS bloggers; having a set deadline for a hefty post keeps me on my toes. Plus, they are more fun to write for some reason, hehe. The update this month will be brief, but hey, at least I’m doing the end of February update at the actual end of February!

Recently Finished:

Grimgar of Fantasy and Ash – I covered my recent love for this short series in the last update, and here it is again but in the finished bin! Looking back, I’m happy that Grimgar didn’t stray from its preface of presenting the struggles of daily life in a fantasy adventure setting. Things took an unexpected turn, however, and on top of food, clothing, and other basic utilities, our party had to deal with death. Finding ways to cope and properly honor those who have passed on occupied much of the middle block. Luckily, the party found their way back on the track and ended their quest with great, intense combat, leaving the series open to a continuation if one ever were to arise. I quite enjoyed Grimgar, and I’ll probably try to pick it up now that FUNimation has released pics of the limited edition, huehuehue. I just might have to write a review if anyone is interested in knowing more of my thoughts!

Ghost in the Shell 2: Innocence – As part of my Ghost in the Shell marathon week(s), this was the second entry to be completed. IT WAS NOT THAT BAD. Sheesh, everywhere you go, you have folks claiming that it was “too far up its own ass.” That quote was by the ANN podcast. I really enjoyed this film, I mean, not as much as the first, but still, it proved plenty interesting to say the least. The animation is gorgeous, the music complements the dingy atmosphere (that ending theme is soooo beautiful), and the premise offers enough to keep the viewer thinking, which is more than what Stand Alone Complex is currently giving me. I went ahead and picked it up on Amazon since FUNi recently rescued it and released it. When it gets here, I’ll rewatch a few bits then hopefully cover my thoughts in-depth later.

Currently Watching:

Ghost in the Shell: Stand Alone Complex – I’m not going to lie, SAC has so far been the most underwhelming entry in the franchise for me. I wasn’t even hooked until like episode 17 when the characters were trying to save bottles of wine–WINE for crying out loud! Maybe it’s just the way the characters converse that I’m not quite fully comprehending. I am watching the English dub (because YES Mary Elizabeth McGlynn AKA Viceroy Cornelia) if that makes any difference. The overarching “Laughing Man” plot has had its moments that completely gripped me, but there are too many government/political figures to remember, and that only adds to my confusion. Someone help, plz. I’ve got three episodes to go, so hopefully it all ties in by now, if not then by the “Laughing Man” recap movie, at least. The music is good, though, especially those first 15 or so seconds of the opening “Inner Universe.”

Between all this Ghost in the Shell, I don’t want to start anything not related to the franchise. Otherwise it wouldn’t be a marathon, right? I have Sailor Moon Crystal Set 2 on the way, as well as Innocence and GitS: The New Movie, so maybe I’ll hop into some sailor senshi awesomeness after Motoko’s done kicking all that cyber ass. Oh, isn’t set 2 of Sailor Moon S supposed to come out sometime in March? I already have set 1, so that’ll probably follow my Crystal session.

All of the releases lined up for this spring are absolute bliss: Steins;Gate the Movie, Crystal Season 2, Grimgar, One Punch Man, not to mention several others–the highlight of my entire year, however, has been the BLU-RAY RESCUE and even ENGLISH DUB of GOSICK set to come out in MAY. THIS. MAY. GOD I’M SO HAPPY I EVEN CRIED. What are you looking forward to picking up this spring?

Also, how are the winter simulcasts, guys? I was going to watch Chaos;Child and Masamune-kun’s Revenge, but let me know if anything else out there is noteworthy. I plan to spend the afternoon reading all of the January and February OWLS blog tour posts, so be sure to check those out if you haven’t yet done so! I also plan to catch up on ALL of those comments you guys left. You know, time to be a responsible blogger for once, right? Haha, I will try to be super active this month, so until next time (hopefully soon), this has been

– Takuto, your host