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.

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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. 

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!

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. 

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!

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.

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

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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

Deus lo Vult: The Saga of Tanya the Evil | Light Novel First Impressions

A brief, spoiler-free review of the first volume of the light novel series “The Saga of Tanya the Evil,” or “Youjo Senki,” art by Shinobu Shinotsuki, written by Carlo Zen.

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Anything BUT Your Typical Isekai 

Out on the front line, a little girl with blonde hair and piercing blue eyes dominates the battlefield. Soaring higher than all her fatherland’s foes, Tanya Degurechaff rules the skies, rifle in hand, and victory on her mind. But Tanya didn’t always have this life in the trenches. Once an elite salaryman in modern day Japan, life caught up with his arrogance and before he knew it, he was shoved in front of a moving subway train. After angering a mysterious being X in what can only be described as the afterlife, this “God” grants the man a second chance at life to learn a lesson on humility and faith.

And so, in a horrific twist of fate, “Tanya” was reborn in a World-War-I-esque alternate reality where magic exists. Still retaining her consciousness as a cold, calculating, and resourceful salaryman, however, Tanya secretly wields the intelligence and experience from her former life to not only survive in this new harsh landscape, but to climb to the top of the military’s hierarchy.

Rife with cruel irony, political banter, and struggles for life during a time of untold death, Deus lo Vult chronicles Tanya Degurechaff’s rise to power and lays the groundwork for the explosive world war that is blazing on the horizon.

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War is only fun when you’re winning. — Tanya Degurechaff

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What sets Tanya apart from other “transported to another world” titles is the narrator’s relationship to young Degurechaff. Plus, I mean, the gender transition, which oddly enough doesn’t seem to perturb the narrator as much as one would think. Carlo Zen writes the novel as if a distance exists between the shell of the young girl, Tanya, and the twisted personality behind her actions, the salaryman or “narrator.” Unlike other isekai titles where the protagonist is placed in another world (or another body) and actively takes in their surroundings and exists in it, the narrator constantly addresses the two separate entities of Tanya and himself.

In other words, the narrator makes Tanya do something, then observes the repercussions of that action from Tanya’s head space. Of course, this calls into question the “Tanya’s” reliability as a narrator, which is the next point I’d like to discuss.

Kafka and the Unreliable Narrator

The perspective of the story is always written in first person, but Tanya is consistently referred to by the narrator in third. When Tanya kills an enemy soldier or salutes to her superiors, the narrator makes comments about what kind of face Tanya should make, what her posture should be like, what her tone of voice should be, etc. The narrator doesn’t see himself as “becoming” Tanya, but rather as an existence that puppeteers this young blonde child named Tanya.

This unusual narrative style sets up an intriguing relationship between the two, and also tells us that the narrator might not be as level-headed as we are led to believe, perhaps indicating an unreliable narrator reminiscent of Franz Kafka’s writing. Fused together are elements that feel simultaneously realistic and fantastic, and like Kafka’s other works, an isolated protagonist faces bizarre predicaments and incomprehensible social-bureaucratic powers. Explored are themes of alienation, existential anxiety, the impacts of imperialism, the costs of war, guilt, and absurdity.

You can’t always trust the narrator’s sanity, which reflects in Tanya’s feared character. And yet, despite her brutal, unforgiving nature, you don’t want to see Tanya lose. Carlo Zen has created a fascinating dilemma—if only more of the book itself was about our rather dangerous titular soldier. 

A Dense Read

Although it is the saga of Tanya, many events of the book are not observed directly from her eyes. Throughout the novel, we take on the viewpoints of the various members of the military’s general staff, a few of Tanya’s brothers-in-arms, and even a reporter from 40 years into the future. Not only are these mostly just reactions of the same events seen from different perspectives, but they’re hard to follow as well.

I remember reading a passage talking about the war, only to realize a few pages later that this wasn’t the army’s commander or even an Allied Forces captain speaking, but rather Tanya herself commentating on the philosophy of war. The POV often shifts unannounced, too, so you’ll never know exactly who’s shoes you’re in unless you really have a grasp for the characters!

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Bravery, glory, honor—all those ideals get covered in mud as they fight to the death, and a handful of exceptions make a name for themselves. — Laeken

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I’ll give it to you straight: Tanya‘s first novel is a difficult book to read. Perhaps this speaks to Carlo Zen’s mature writing style, but this is not a novel you’d casually pop open, read for a bit, then put it back down. It’s going to require a bit more commitment than your average light novel series, and while I know some readers crave that kind of challenge, others would be totally put off by it (which is kinda where I fall on the matter).

With constant walls of tiny text, monstrous chapter lengths, and illustrations that are few and far between, you start to understand why it took me a whole month just to read volume one. It doesn’t help that the book is over 300 pages long! So, in addition to being unlike most isekai stories, The Saga of Tanya the Evil is also unlike most light novels.

If God Wills It . . .

Much like the way Lieutenant Degurechaff leads with an iron fist, The Saga of Tanya the Evil is a series that can be very punishing to readers unless they know exactly what they’ve signed up for. It’s a densely packed story with so much going on in it, from the philosophies of war and life, to the increasing global climate of a world preparing for war. Zen uses the dreary historical non-fiction backdrop of a world war to toss Tanya into circumstances of danger, and it is in those moments of insecurity that we see the divine cruelty of one all-powerful, pissed off God.

To say the least, the novel series involves much more than a mad little girl flying around using magic to smite her enemies. If you were coming from the anime expecting action at every bend in the rocky road, look elsewhere. Tanya doesn’t take any prisoners, but to those up for the daunting task: “Spend your days in combat and unfathomable danger. If you return alive, you’ll receive honor and glory.” To those poor soldiers, however, my sympathies—you have no idea that the most dangerous thing on the battlefield is the Devil of the Rhine herself.

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O saints, believe in the blessings of our Lord. Let us be fearless. At the distant end of our journey, let us reach the promised land. — Tanya Degurechaff

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Afterword

Looking back on it, I definitely enjoyed this first volume of Tanya. It was a tough read for sure, especially since I was expecting more of something like the anime, but I did like the incredible depth placed in the characters and the world. Should you read it? If you’re wanting a military title with a bit of magic and a more challenging read to entertain you, there’s a lot you’re bound to like in Tanya. Will I be picking up volume two? Yes . . . but not anytime soon. I think I need a bit of a break after just reading this first one! For now, The Saga of Tanya the Evil is a “Coffee” title here at the cafe, but I’m sure the story only gets better from here.

Have you read The Saga of Tanya the Evil? If you have, what did you think of it, and if you have not, has the anime ever tempted you into starting? Let me know! ‘Till the next review, 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.

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.

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.

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.

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.

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.

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

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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

In This Corner of the World: A History Lesson on Hope & Healing | OWLS “Warmth”

Chances are that if you were linked here from another blogger pal, then you might be new. To those first-timers, “Hi, I’m Takuto, welcome to my anime cafe!” As part of the OWLS blog tour’s twelfth monthly topic, “Warmth,” I decided to incorporate what would have been my standard review of In This Corner of the World into a sympathetic discussion on the hardships of war and loss, and how love gives us the strength to continue being compassionate through even the worst of times.

It’s the season of joy, thankfulness, and love. This month’s topic is “Warmth.” Whether it is spending time with family members during the holiday season or with that special someone during New Year’s Eve, we will be discussing moments in anime and pop culture media that convey a feeling of happiness in our hearts. During times of struggles, we look towards the things that matter to us as a source of strength, hope, and happiness. We hope you enjoy this round of posts and that you, too, will have a wonderful holiday season!

I’ve nothing else to say for the intro! Thank you Lyn for twelve consecutively thoughtful topics to ponder each month—I’ve enjoyed writing for all of them!

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A brief spoiler-free discussion on the fall 2016 anime film “In This Corner of the World,” produced by studio MAPPA, directed by Sunao Katabuchi (“Black Lagoon”), based on Fumiyo Kouno’s award-winning manga of the same name.

New Life, New Opportunities

In 1944, life for Suzu Urano starts slipping through her tiny calloused fingers. For one, she is married to Shuusaku Houjou, a reserved young clerk, and is sent off to the small town of Kure in Hiroshima where her husband works at the local naval base. Now living with the Houjou family, Suzu must adjust to her new life, which is made especially difficult since she quickly becomes an essential meal-making, chore-doing crutch for the family. She does all of the daily housework during the tough wartime conditions, and the familial disconnect Suzu experiences between her sister-in-law—timed with the regular air raids—makes both the political and household climates feel like battlefields.

When intense bombings by the U.S. military finally reach Kure in 1945, devastation to Hiroshima and its townsfolk, as well as its culture, forever shake the nation, and Suzu’s life is permanently impacted by the tragedies. “Much is gained by living in Kure, but with war, many things cherished are also lost.” It is only through the greatest perseverance and courage that Suzu manages to continue caring for those around her, and to truly live life to the fullest.

“Torn apart by war. Brought together by love.”

By its end, In This Corner of the World is a somber ode to history, wherein the tragedies of WWII’s Hiroshima bombing are experienced firsthand by the main characters. But before the bomb is dropped, the entire first half of the film winds us back to the 1920s, Suzu’s peaceful childhood. It starts this way to not only show Suzu’s developing story from beginning to end, but also to create the picturesque vision of pre-war times in Japan, specifically Hiroshima and its surrounding towns. As every 5 or 10-minute interval—marked by on-screen dates—brings us closer to that horrific day, August 6, 1945, your stomach starts churning in dreadful anticipation; you know what’s about to happen, and you’re almost left disbelieving how Suzu’s whole life could just fall apart in an instant.

Akin to African author Achebe’s world-renowned novel, Things Fall Apart, which was written to show that life, law, and liberty already existed before the white man saw the need to organize, colonize, and, get this, “save” Africa, Fumiyo Kouno’s story serves to inform the viewer about the other side of the Pacific. You are put through the trials and tribulations of Suzu’s daily life, from learning to properly make a meal using rations to understanding the familial benefits of marriage, in order to hopefully understand that despite their differing customs, both the attackers and the attacked have things they want to protect.

I set up a pretty overwhelming historical background here, but the film really isn’t that political at all. Rather, its a drama centered around one little girl’s average life during WWII, and how no matter the global circumstances plaguing a household cause ruin and chaos, life goes on. That’s right, life will always go on. There are always things to be fixed, clothes to be washed, and food to be cooked. Suzu understand this, and that’s why she faces each painstaking day blessed that there’s still a roof above her family’s head. In This Corner of the World, though rife with tragedy, is ultimately a heartwarming tale of Suzu’s prevailing love and healing hands.

A Hero at Home: Suzu Urano

Characterized as tiny, optimistic, and a bit aloof at times, Suzu Urano goes through great lengths to help in anyway she can, even if her assistance comically ends up backfiring in the end. She’s also incredibly creative, shown in both her beautiful landscape sketches and paintings, as well as when she wields her knowledge of samurai food rationing to construct some, at the very least, “interesting” dishes. Her artistic talents act as a sort of sanctuary for her, and it is through her simple yet gorgeous works that she meets many new friends and even potential lovers. But like all artistic endeavors, chores come first, and slowly you start to see the hobbies that she once did for herself fade away to make room for aiding the family.

On top of working her hardest around the house (her efforts eventually exceeding those of everyone around her), Suzu is a girl, a soon-to-be-woman who undergoes all of the same treatments that Japanese women received during the 1900s. From stricter expectations in the kitchen and household to family-controlled courtship, rarely is Suzu the master of her own fate. Yet somehow, Suzu makes the best of what is given to her, for merely being allowed to experience the tranquility and joys of everyday life in Kure is enough to give her hope and purpose. Honestly, what a woman!

Suzu only speaks out once or twice in the entire film—remember, this is a film that chronicles Suzu’s ENTIRE life! She many not be honest to herself all the time, frequently disregarding her own happiness and well-being for the sake of her family and her nation’s pride, but Suzu knows how to fight the good fight, as well as when to keep pushing on through the toughest of hardships. Between watching her frugal attempts at fitting in with her husband’s family, her struggle to adjust to life in Kure, and the tragedies of war she later encounters, it feels as if you physically and emotionally cannot go through as much heartache that is thrust upon her and make it out ok. Yet Suzu manages to bandage up her scars and continue making herself useful to everyone. The warmth she brings to the war-torn world embodies the purest light of hope in a time of darkness.

Visually, the Softest Movie I’ve Ever Seen

“It was like Studio Ghibli meets the Peanuts and together they talk about some pretty serious stuff.” This was my immediate reaction to the film which I posted on Twitter, and I still stand by these words now. The backgrounds are painted so smoothly, giving off an immense sense of ease, and the magical watercolor touch just feels so right. Even the characters, for a lack of a better word, look so . . . “soft.” There’s a lack of detail in their physical features, but it’s their sometimes cute, sometimes sorrowful mannerisms and words that convey their true characters. Seeing characters this adorable almost feels wrong for the tone of the film’s second half where the air raids become prominent, but it somehow works altogether as one moving, breathing, snapshot of history.

(If you watch the special feature clip “Hiroshima & Kure: Then & Now,” you’ll understand how and why it all looks so historically accurate; the attention to detail in re-creating several destroyed sites where famous architecture once stood was very commendable.)

The luscious animation is accompanied by equally gentle music, as kotringo’s (Rieko Miyoshi) soundtrack matches perfectly with the tone. At times uplifting, other times more tender or melancholic, tracks like “Kanashikute Yari Kirenai” or my personal favorite, the ED theme “Migite no Uta (みぎてのうた)” provide lovely messages to live by: “Even in this painful and broken world, there IS hope.”

Learn From Fiction: Heartwarming Tenderness Comes From How We Live

It is stories like Suzu Urano’s that give us all the fuzziest feelings of contentment and comfort. But like all stories, they eventually end, and once they’re over, the books get placed back on the shelves, and the DVDs and Blu-rays are ejected from their players. And that’s it. It’s all just entertainment, anyway.

*If you’ve ever thought this, then you completely missed the point as to why certain works even exist in the first place.

All fiction is written with messages, no matter how significant or insignificant. With the case of In This Corner of the World, it’s to showcase the tragedies of war firsthand, and the devastation that comes with violence. That should’ve been apparent from the synopsis alone. Looking deeper, we can understand more big takeaways from the film:

• Hardships exist everywhere—someone is always struggling
• Protect family, for without it we are fundamentally alone
• Gender roles can limit individuals from reaching their full potential
• The youth of today ARE our future
• With destruction comes the joy of rebirth
• By rebuilding from the ground up, we build a stronger foundation than the one before it
• Make the most of your life—you only get one, and it goes by incredibly fast
• WE ALL have the choice to be happy or sad, rude or nice—live the way you want to
• Be thankful for what the earth provides, and what you can do for it in return
• And lastly, to quote The End of Evangelion, “Anywhere can be paradise, so long as you have the will to live”

Just LOOK AT ALL OF THOSE THINGS I CAME UP WITH. And that only took me a couple minutes of reflection.

History will always be our greatest teacher

Authors, directors, artists, musicians—Creators improve on what skills they already have in order to teach us invaluable lessons about the human experience. They have the power to take all the world’s evil and tell us that life can be incredible, so long as we don’t repeat history’s mistakes. Don’t just watch a film: enjoy what it is trying to show you. Don’t just read a book: revel in the messages left in-between the lines. Take what you learn and monopolize on it! Essentially, BE the good in the world!

In This Corner of the World presents the catastrophic effects of humanity’s cruelty, savagery, and barbarity—yes, absolutely. But it also exists to tell us that through the ashes, we can rebuild; that we can be kind to others, even if they treat us harshly; that most of all, we have the choice to see the good in this wild, wicked, unfair world.

As a race, we have this terrible tendency to appear on the wrong side of history (if you know what I mean). The title In This Corner of the World refers to both Suzu’s tiny Kure house on the hill AND a state of harmony achieved by acknowledging and balancing the positives and negatives that life throws at us. A heartbreaking historical ballad for those we have wronged, and the terrible things we have done, In This Corner of the World is here to say that life goes on, and that as long as we try to understand one another, hope and a warm heart will always allow us to move forward.

We can love. We can rebuild. We can move on. But we’ll never truly forget.

There is only one corner of the universe you can be certain of improving, and that’s your own self. – Aldous Huxley

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This can be a hard film to watch, but it all depends on how seriously you decide to take it. It has several comedic points of value in it, as well as a very cute presentation style, but don’t let those two aspects close you off from In This Corner of the World‘s subtle brilliance and emotional depth. As a powerful, touching work of art, this film is awarded the “Caffe Mocha” seal of approval, a rating for those special titles that I consider to be a must-watch!

This concludes my December 20th entry in the OWLS “Warmth” blog tour. Arria Cross of Fujinsei went right before me and expressed her sincere gratitude to all of her fellow readers, bloggers, and OWLS members in one emotional, heartwarming post. Now, look out for fellow aniblogger LitaKino (Lita Kino Anime Corner) with a surprise celebratory birthday video this Friday, December 22nd! Thank you so much for reading, from my first OWLS post in January to here at the end—I do hope you have enjoyed them, as I do really, really like writing them! Until next time, this has been

– Takuto, your host

Before the Black Out: More Human Than Human | OWLS “Diplomacy”

Chances are that if you were linked here from another blogger pal, then you might be new. To those first-timers, “Hi, I’m Takuto, welcome to my anime cafe!” As part of the OWLS blog tour’s  eleventh monthly topic, “Diplomacy,” I decided to incorporate my loose thoughts on Blade Runner: Black Out 2022 into this glance at the past, the present, and the future of the franchise’s iconic sci-fi world. The matter at hand: In an age rife with incredible development, improvement, and achievement, when did humanity lose its defining future–its ability to reason compassionately?

Whenever we have a disagreement with someone, we use our words to express our thoughts and opinions. However, there are those who would rather use fists instead of words—those who forget that being “right” isn’t the most important thing, and those who lose sight of compromising and acknowledging differences in opinion and belief. Diplomacy is an important skill and tactic that not many of us have or are able to utilize properly especially in “social media wars” for sensitive issues and anime discourse—we just express our opinions without really listening.

We will be exploring some of the best negotiations scenes in pop culture media and discuss how effective these diplomatic moments are and what we can learn from them. We will also discuss why communication and listening are important traits to have, and whether or not there are other means to enforce peace.

I’ll be taking this in a bit of a different direction, like say, what happens in a world without diplomacy—a world without choice—where issues can’t merely be talked through, but require brute force to get a point across. War is necessity. I’m talkin’ about the dawn of a revolution, the beginning of the blackout bigger and darker than the world had ever known. Welcome to Blade Runner.

Thanks Lyn for the prompt (this month’s theme was admittedly tricky for me, so I hope you all enjoy a VERY different OWLS post)!

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A brief discussion on the 15-min fall 2017 anime short “Blade Runner: Black Out 2022,” produced by Cygames, directed by Shinichiro Watanabe (Cowboy Bebop). It serves as one of three short films based on the original film by Ridley Scott as an intended sequel to fill in the events before “Blade Runner 2049.” SPOILERS only for “BLACK OUT 2022” will be present.

A Dystopian Vision of Our World, the Not-So-Far-Off Future

Set three years after the events of Blade Runner, we are presented with a vision of Los Angeles in 2022: a grim, metal and rain-coated field of shacks and skyscrapers that continues beyond the horizon as far as the eye can reach. It’s an overcrowded metropolis in which millions of people roam the streets, shoulders practically touching, yet people couldn’t feel more disconnected on a personal level. The scene is gloomy, very neo-noir in tone, and the only sense of organization comes from not the city’s inhabitants, but its layout and structure; a handful of massive, sprawling, and imposing ziggurats distinguish between the penniless street-dwellers and those empowered with privilege.

Between the maze of ominous alleyways and towering steel spires, one would find two types of species: the living, us standard human types, and the manufactured, bio-engineered androids coined “replicants” (these happen to be new Nexus-8 models, mind you, which mean that their lifespans are programmed to be just as long as a normal human’s—a significant improvement since the four-year lifespans of Nexus-6 models in the original Blade Runner). Already faster, stronger, and smarter than humans, this latest replicant enhancement robbed humans of their final upper edge against the robots, and unfortunately, this didn’t settle well with the populous.

Hunters, fighters, and police began their assaults on a race that didn’t even get to choose its genes—their maker, in fact, was human, so why the cause for outrage? Human nature, that’s why (cue events of 1982’s Blade Runner). Replicants were brutally hunted down, more killed than imprisoned. Feeling the urge, the drive, the right to power over all they create and manipulate, unjust violence by humanity broke out everywhere, and it’d only be a matter of time before the Replicants as a whole decided to fight back. In their rise, humanity fell further to the lowest levels of jealousy, corruption, and greed.

A Means to an End

FINALLY, we get to Black Out 2022, a brief tale that begins at the climax of the Replicant Revolution, a stage craftily set by what I’d imagine to be many painstaking hours of sorting out the details so that the franchise’s history flowed smoothly with the coming of Blade Runner 2049. We find a young female, a replicant named Trixie, in the streets being approached by a group of thugs when Iggy, a once-soldier replicant, bursts onto the scene and rescues her. Iggy had left the battlefield once he realized that, in the war on terror, BOTH sides were using replicants as disposable pawns. Flash forward and together the two team up with other members of the underground replicant freedom movement to destroy the Tyrell Corporation’s database of registered replicants, so that replicants can no longer be hunted, as well as plunge Los Angeles into the dark ages via atomic bomb. Heaven and hell are for the humans—now, THIS life, is all the replicants have.

Too often, these war shows about rebellion cause us to contemplate the same questions: How did things turn out this way? Was this really the only way to win? Did we even really win anything in the end? And you know, I find them to be more rhetorical than anything. Rather than asking a serious question and expecting a straight answer, these questions merely exist to put a point out there. How did things turn out this way? Well, because we kept agreeing to disagree, that’s how. But really, perhaps it’s because, somewhere deep down in the darkest of our human selves, we wanted this result—this form of means to bring us to the end. As the saying goes, “If you go down, go down fighting,” right? Then WHAT is so wrong about rigging a bomb to protect the lives of millions of ill-fated replicants? (rhetorical question, just think)

Maybe there isn’t a way outta this one. Sometimes, words alone are not enough to probe individuals to act. Replicant injustice was akin to a crueler version of slavery by the time of the revolution—it was humanity who created beings capable of achieving self-realization and freedom, and it was humanity who purposefully dangled that freedom in front of their innocent, unknowing faces, far beyond their grasp. I hate to admit it (and no, I don’t condemn the use of atomic bombs, ever), but maybe the replicants were right on this one.

According to basic psychology, Kohlberg’s theory on moral development might have an explanation to the justification of rigging the great black out of 2022:

Of his 6 stages, the last is the rarest case of man, one in which he weighs universal ethical principles. Gifted individuals like Ghandi or Martin Luther King Jr. fit this bill, as they pass judgments based on universal human rights (whether it’s for or against the law, this is inherently right/wrong). They tend to disregard law and social agreement for what is believed to be the greatest good for all, kinda like groovin’ to the beat of their own drum. Whoever is leading the Replicant Revolution is likely such a charismatic character, one who is seeking an end where replicants can live freely regardless of how many laws they have to break getting there. Now, back to the Blade Runner . . .

If Only We Could Talk Things Through

BEHOLD, THIS is the future you asked for, humanity. THIS is the world in which you gave all of your power up to an oppressive state that knows all and sees all, and thus it created more slaves. THIS is the route where humans essentially reduced a complex lifeform into a machine. This is . . . the black out is . . .

It’s the world you deserve.

Call me bitter, but there’s a time and place for war, there really is. When some people get their head SO far up their asses that they close off their mind to new ideas and thoughts, it’s time for change. And that is EXACTLY what the replicants did and in the most peaceful way possible. Through the black out, two lowly replicants transcend their original purposes to become free-thinking individuals.

The film ends just as it began: Iggy walking away from a storm of ash and flames with an eye patch, symbolizing that he, like Trixie, has cast aside his original purpose as a replicant soldier (replicant IDs are located under the eye), transforming him into a cold warrior fighting for justice and the freedom of his kind. Now, in theory, all men are equal, and the means of terrorism have brought upon a glorious end: all of the world is painted black. There is no record of who is or isn’t a replicant. Is it an ending of hope? Well, if you find their actions to be “stage 6 justification” like I do, then it might be. Enslavement of any kind should never be tolerated, and as such, sometimes we need action to prove a point—much like asking a rhetorical question. To quote MLK Jr., “Injustice anywhere is a threat to justice everywhere.”

Blade Runner: Black Out 2022, as with the rest of the franchise, shows us a future void of diplomacy. It’s a world where those who are inferior neither get a voice nor a chance to negotiate their terms of living. There is no fairness. There is no thoughtfulness, or sensitivity, or care given to the replicants. To change the treatment of their kind, the replicants had to think bigger and above themselves—to a region of thought that even most humans fail to fathom—accurately becoming, as ironically as the Tyrell Corporation proclaims, “more human than human.” And it is through the awe-inspiring darkness of the black out that we see the light.

“Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.” – MLK Jr. 

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Once again, I didn’t even get to discuss the art and animation of the world of Blade Runner in the anime style—which is perhaps the single most interesting element about this entire short film!!! Guys, 2022 is seriously beautiful, both fluid and engaging during the action scenes, and simply breathtaking in terms of landscape. JUST LOOK AT IT. MY GOD, what I’d give to just walk through the blue, rainy, compact streets of the city!! It’s like a dirtier, grittier version of Ghost in the Shell, and if that means anything to you then you ought to give the franchise a watch.

Speaking of, this is NOT RECOMMENDED for a blind watch. You won’t get any of it. It’s designed to serve as a one of three prequel short films to the latest Blade Runner 2049, and boy did they help a ton! So yes, start with the 1982 Blade Runner, as I highly recommend it, then make your way up. For Black Out 2022, I’ll gladly place it under the “Cakes” menu for future reference.

This concludes my November 10th entry in the OWLS “Diplomacy” blog tour. A new friend of mine, Irina (Drunken Anime Blog) chose to explore how her otome stories and games taught her that you can’t please all the boys with your charming diplomatic ways. Then look out for Lita (Lita Kino Anime Corner) tomorrow, November 11th with, well, it’s a surprise!  Thank you so much for reading, and until next time, this has been

– Takuto, your host

LISTEN TO THIS. “Almost Human” by pop-singer Lauren Daigle is an interesting choice for an ED theme, and I wouldn’t have picked a different one. SO GOOD!!

 

Sora no Woto, How Oh~So Sweet the Sound

A spoiler-free review of the 12-episode (+2 OVAs) winter 2010 anime “Sora no Woto” or “Sound of the Sky,” produced by A-1 Pictures, directed by Mamoru Kanbe (original work).

In the outbreak of world war between namely Rome and Helvetia, Kanata Sorami was saved by an enchanting trumpeter who appeared to her like a goddess. Years later, 15-year-old Kanata, still driven by the savior music, enlists in the 1121^st Platoon of the Helvetian Army to learn not to fight, but how to play the bugle. This particular all-female platoon is located on the edge of “No Man’s Land” in a tiny town called Seize, however, and as a result becomes the butt end of a joke, isolated from combat and mocked by other platoons and even townspeople.

This doesn’t faze the lackadaisical girls, though. Instead, through Kanata’s cheery smile, they seek sounds of joy and beauty even in a world ravaged by war.

I already know the first thing you’re probably wondering: Rome?

Why yes, Rome.

Sound of the Sky is set in a post-apocalyptic world where that “No Man’s Land,” hundreds of miles of desert wasteland, presumably dominates most of the continent – Perhaps even the world. What we zoom in on is the budding town of Seize and its Strike Witches-esque vibe minus all of the, well, boobage. Clearly, the story is set in the future, as both armies pilot giant spider-like mechs and tear each other to shreds. Plus, Japan is but an ancient culture by now. What’s interesting is that the overall tone and use of technology is reminiscent of WWII, heck, even WWI.

And that’s when this anime strikes a favorite ambience of mine. The “Old Ruin Dystopia.” It’s a term I invented for European-inspired worlds where, despite the obvious advances in technology, people still cling to old-fashioned devices and living (no offense to Europe, that’s just how the architecture looks). Familiar settings include Castle in the Sky, Fractale, Megaman Legends (not an anime, but it fits) and very few others. Call it what you will, but the concept’s interworking with not only the setting but with the characters, too, is what truly makes this a kind of utopia for myself.

The 1121^st is not a platoon, but rather a family considering its lax position. Commanding officer Filicia Heideman functions as the squad’s mother, being at times aloof yet completely wary of the moods of others. Sergeant major Rio Kazumiya AKA 2nd-in-command would be the metaphorical father of the family, whipping the other girls into shape yet with a compassionate demeanor. Private Kureha Suminoya is the easily-flustered and strong-willed “younger sister” that begs for attention but is easy to talk to. Meanwhile, Noel Kannagi is that “younger brother” who, although always falling asleep, is both smart and supportive. That leaves Kanata, the runt of the litter whose optimism is overwhelmingly contagious as she tries her hardest to progress in trainings – Athletic and musical.

The gang’s all here, including warped owl-kun

BEEPBOOPBEEEEEPBEEEEEE . . . don’t worry, my private lesson teacher had the same face

The structure of the story manages to round out each of the characters wonderfully, even placing backstory for each girl logically within the plot. They might be based on regular anime tropes, but WHO CARES? Contrast between these fine women works brilliantly in the military theme, while the personality also uplifts many pleasant slice-of-life moments. These characters just work in Sound of the Sky’s favor!

‘Moe’ is one word to describe the animation, but ‘lovely’ is a better one. Characters are drawn up in that slice-of-life firsthand look, which is odd coming from A-1 Pictures. Regardless, their naturally pure look and moving flow gives them an adorable aesthetic quality that helps lighten the mood. CG combat with the tanks was also pretty badass. Even better yet was the astounding scenery of Seize and its neighboring land, like wow! The atmosphere established in the animation department brings out those rare moments where no words could describe the enchanting landscape.

And yes – An anime about music is complete with a fantastic soundtrack provided by Michiru Oshima! Her rendition of “Amazing Grace,” albeit not my favorite song, was made most appropriate for this anime. The rest of the score encompasses heavy string and lute tunes with solo trumpet that are all equally enchanting. Music has not made me so emotional such a long time, however, until “Servante Du Feu,” a French ballad, played during the most impactful moment of the show (episode 12). Guys, it’s a feels trip.

But we can’t forget the reason I got hooked on this anime – the opening, “Hikari no Senritsu,” and I’m proud to announce, my all-time favorite Kalafina song! If an opening had ever fitted its show so well, it’s right here! Rich and bold, yet delicate as a flower at the same time. Not to mention, its animation depicting the girls in the goddess garb is hauntingly beautiful. Ending theme “Girls, Be Ambitious.” by Haruka Tomatsu also deserves a shout out for being so radically upbeat!

Sound of the Sky, through the tragedy of war, remains a tale dedicated to finding beauty in music and friendship even during desperate times. It shines in revealing how music can really change the world and empower minds to overcome the toughest of challenges. Though the characters might slide you by, the ambience of the show is unforgettable. It’s a shame that it leaves us believing there is so much more for Kanata and friends, but what we got is – without a doubt – a phenomenal anime. Don’t let the obscurity of this title slip by – Its message of peace is simple, powerful, idealistic, and full of heart. So much heart . . .

“Hey, Rio. You were asking if there was some meaning in this world. When I was the only one who survived, it was all I could think about. Why had I, alone, survived? What did it mean? And I realized, I’m sure there’s no meaning in this world. But isn’t that wonderful? That means you can find your own. And I’ve found mine. The meaning to my being here . . .” – Filicia Heideman

+ Characters guide the show and its message fittingly and passionately

+ “Old Ruin Dystopia”ambiance established perfectly

+ Quality of scenery is astonishing

+ All music nails the atmosphere

– Poor localization (no Blu-Ray nor English dub)

This one stole my heart. Let it steal yours by watching it for free on Crunchyroll! Just know that if you own that Limited Edition 2011 version released by Nozomi I’d be willing to trade my SOUL!!! That’s right, if you want Takuto’s soul, just send LTD ED moe soldiers my way. A “Caffe Mocha” whipped with happy and sad feels. Thank you for reading! I’ve nothing more to say. Enjoy your day 🙂

– Takuto, your host

Code Geass: A Masterful Rebellion To Be Remembered

A review of the 2006-2007 anime “Code Geass: Lelouch of the Rebellion” and its 2008 sequel, “R2”

***Beware of slight spoilers, though everyone should have seen this show by now***

Before I start writing, we must travel back in time to December of last year – my amateur Guilty Crown review *shudders*. In it, I accused GC of “stealing something precious from every solid robot/action anime prior to its own existence,” and that it was “just a messy conglomeration of past sci-fi anime.” I actually confess to being the one guilty here, as prior to that review I was honestly just venting others’ thoughts rather than speaking my own. I knew nothing about the mecha genre of anime! So now, I apologize and atone for my sins by witnessing the very chaos where Guilty Crown got its roots – And it all rises with a single rebellious command.

Secondly, my god, how I love smart characters. Enjoy ~

By 2010, the totalitarian Holy Britannian Empire, which already claims a third of the world, captures and strips the honorable Japan down to petty people. Now renamed to Area 11, the “Elevens” no longer enjoy a life of freedom and pride, but slave away while the Britannian aristocracy stands over them with overwhelming wealth and authority, wine glasses in hand.

Lelouch vi Britannia, a banished royal youth has been taking refuge in the prestigious Ashford Academy with his blind and wheelchair-bound little sister Nunnally. Going by the last name Lamperouge to escape execution, the two became members of the spirited student council. All goes fairly well for the two, but Lelouch can hardly even call hiding in secret day by day living! So when a Japanese terrorist operation results in a horrific highway wreck, the witness Lelouch runs to check on their safety, but instead uncovers a classified Britannian “weapon” of sorts. Her name is C.C. (pronounced C2), and she bestows the near-omnipotent power of Geass upon him – the power of absolute control over another, which merely requires direct eye contact and a command to activate.

It’s at this exact moment that the scheming Lelouch ZERO begins his awe-inspiring rebellion to destroy Britannia and recreate the world anew, all for the safety of his crippled sister and to uncover the mysteries surrounding his mother’s death. Zero rallies his Black Knights, the Japanese terrorists, and sets his sights on liberation, but by donning the mask of a criminal mastermind and wielding his King’s Power mercilessly, he shall pave his own path of solitude and shoulder all of the world’s evil.

Code Geass is a complex anime to watch. Half of the show is following Lelouch as he scrambles identities from school boy to the anarchist Zero, while the other half is political mumbo jumbo. Between constant Geass brainwashing, royal court betrayals, and countless bickering, national figureheads, each complete with an ideology of their own, it’s quite easy to get lost. The plot also relies on very meticulously placed characters to show you what you need to see, when you should see it. I don’t think this overly convenient placement is considered plot armor for Lelouch, for he is quite the intelligent badass, it’s just that there is an inhuman amount of info to keep track of, considering that each character’s current knowledge, prior history and point of view is equally important toward the end result. One easy slip-up early on and his whole uprising would have fallen flat -_-

As a viewer, I was very stressed to find no answers to any of my several hundred questions after the first season, but in due time, everything became clear. Often, explanations arrive too late in the series, however, which only adds to the long-standing confusion. My episode one qualms no longer seemed relevant to what was going on.

About the mechs. While the first season valued tactics, ahem errr, strategy on the battlefield, the second season’s combat was structured on “my gun is bigger than your gun,” of which the sexy Rakshata or ridiculously quirky “Earl of Pudding” would steal the other’s ideas to invent a better one. These scientific discoveries were pointless compared to the supernatural Geass, though they were at least entertaining. The second season’s use of flight capabilities also took out the thrill that came from ground combat. All in all, I really enjoyed the solidly strategized Knightmare Frame battles, but I could have gone without the boring aerial stuff.

As for characters, we have the aforementioned Lelouch Lamperouge, the brilliant chess master who is justly one of the BEST anime characters EVER, like do I even need to explain? Always several steps ahead of the game, using whomever he needs like pawns to create a new world. One character who constantly bumps heads with him is childhood friend Suzaku Kururugi, a knight of justice who in contrast to Lelouch believes that the means are more important than the end result. Due to “Spinzaku” being Japanese, his righteousness brings punishment from leaders on the both sides, however, and his stubborn will causes never-ending interference with the Britannian nobles and Lelouch. A fine character nevertheless.

And of course, the rest of the cast is extraordinary! Nobles like Prince Schneizel and Cornelia li Britannia (BEST GIRL) continually throw in spicy curveballs. A rebel like Kallen challenges her very existence because of her being half Britannian and half Japanese. Lovers like Lulu’s sister Nunnally, Rolo, Jeremiah, Shirley, Villetta, and eventually C.C. heighten the levels of drama. There are also the Black Knights, Ashford’s student council, and other royals that play their part exceptionally well! Granted some of the characters are incredibly dumb, and in the second season there are a lot of bipolar decisions, I was pretty damn impressed with what we got. Lastly, Code Geass never forgets about a single character; each one is gradually touched on throughout the entirety of the franchise, and that is not an easy feat to pull off!

Animation was done by Sunrise, and since I have not watched many mecha anime, it was a huge change for me to see robots that were all drawn. Unlike most CG, I was never taken out of the world thanks to the drawn appearance, so that’s a plus! Another nice factor was the character designs done up by Clamp. There’s just something so incredibly sexy about those elongated chests and limbs tagged along with bold, charming, unique faces that made me go mmmm. I especially love the eye and hair designs (Leads, Euphemia, Cornelia), so rich and fierce 😉

Ahh, the OST by Kotaro Nakagawa and Hitomi Kuroishi, much like the animation, a strong point. It’s an epic, classical, string based soundtrack, which are my favorite kinds, but occasionally there are soft, Celtic-esque tracks that play during the most depressing moments, milking all that they can out of a scene. Some of the best songs include “Black Knights,” “Beautiful Emperor,” “Lullaby of M,” “All-out Attack,” and the famous “Madder Sky.” But the one that tops them all, possibly my favorite track from an OST, is the bittersweet “Continued Story” by Hitomi Kuroishi, which played in the final episode. From YouTube, this is the song that got me into the show, and literally tears run down every time . . .

The very first and last ending themes, both Ali Project songs, also added fuel to the fire of the rebellion! Check out “Yuukyou Seishunka” and “Waga Routashi Aku no Hana,” as they are both eerie and insane!

I can now easily understand why Code Geass receives so much conversation and the title of classic. I was always trying to guess what Zero would do next, but little did I know that he had everything in the bag from the start, or so I believe. The show excels in all categories and provides the genre with ONE OF THE BEST (TRAGIC) ENDINGS IN ANIME HISTORY. Code Geass is a battle of wit, a competition for science, a war of mechs, a struggle for royal power, a strife for family, and above all, a rebellion to be remembered. By accepting Geass and becoming the world’s greatest antihero, Lelouch vi Britannia dug his own grave, and once he reaches the pits of hell itself, he shall take all of the world’s hatred with him.

“Suppose there is an evil that justice cannot bring down. What would you do? Would you taint your hands with evil to destroy evil? Or would you carry out your own justice and succumb to that evil?” – Lelouch Lamperouge

+ One of the best main characters to hit anime, supporting cast also brilliant

+ Masterful varying portrayals of justice and other ideological themes

+ Excellent English dub (especially Lelouch, Suzaku, Kallen, Cornelia), strong soundtrack

+ Gripping, curious, and intense story to the finale, one of anime’s greatest endings

– Plotline involving Geass history/Emperor’s grand plan could have used more combing through

– Several moments were a bit too conventional for Lelouch, some bipolar actions made to keep story moving

– 2 seasons; 50 episodes can be very extensive for some

This was definitely a difficult review to write, as I was pretty much just fanboying the entire time 😀 I did have a few complaints, though. But after considering the clever ride from start to finish, it deserves the Caffé Mocha award without a doubt! 9/10 for both seasons to those following my MyAnimeList. Action, romance, drama, great characters and story – EVERY anime fan must watch this show! The varying genres of school, mecha, war, comedy, sci-fi and more also make this show interesting. I feel I have the room to judge anime a little better now that I’ve seen this classic (and that cart scene, I see what you did there). My god, I’ve never been so entertained by one character in such a long time ahaha AHAHAH MUAHAHA – ALL HAIL LELOUCH!! Now, I command you to like, comment and follow my blog, and until next time, this has been

– Takuto, your emperor

ALDNOAH.ZERO Review

Fellow Café members, let me just start with what this experience was – a coincidence. Ever heard of one? Yes, I thought so. I’ve seen the masterpieces that are Puella Magi Madoka Magica and Fate/Zero prior to this series, and little did I know that this one was written by the same guy. Gen Urobuchi, for the better, you got me again!

Humankind began migrating to Mars when an ancient alien hypergate was discovered on the moon in 1972. Using the Aldnoah technology they had additionally discovered, the VERS Empire was formed. Soon after, the VERS Empire declared war on Earth. This war caused the destruction of the Moon and the gate, creating a belt of debris around Earth and disabling any known connections. Presently in 2014, the princess of VERS travels to Earth only to be attacked and “killed” during a peace mission. The people of VERS are now furious and stand determined to take Earth this time around as both races are thrown back into war.

Isn’t that a cool concept? Aldnoah.Zero dives into the aspect of human separation, and how it is not Terrans versus Martians so much as it’s humans on Earth and those on Mars against each other. They all want each other’s’ blood even though it is actually the same type. Add this dark theme and giant robot, or “kataprakt,” fights and you have yourself a show that is interesting and worth one’s time.

Speaking of, one flaw that I would like to point out is the fact that the Martian’s could have easily squashed any human resistance with their super powered Aldnoah kataprakts, but what would be the good in that, right? Like seriously, one of the enemy robots can create a dimensional barrier that absorbs all forms of energy, allowing it to walk through buildings without any struggle. WHY DID THEY NOT MAKE MORE OF THESE?? This forced the opening fight to require Inaho’s smarts, as he literally couldn’t go rushing in at the enemy. Perhaps if a fight on this scale of strategy was at the end, then maybe the final boss wouldn’t have been such a snooze.

Our true story centers on the triangle between the Terran Inaho (Orange), Princess Asseylum Vers Allusia, and the Terran Slaine (Bat). Inaho is quiet, resourceful, and a calm, quick thinker. This makes me love him yet dislike him at the same time, for although he rarely says stupid stuff, he follows the bland archetype hero.

On another note, Asseylum receives asylum by Inaho and co. upon her arrival (Hehe, puns). She is a dutiful young lady who, for housing the mysterious power of the Aldnoah, one would think she would have some kind of combat skills, but it’s whatever. In that aspect, she reminds me of Princess Lenessia from Log Horizon. They both act in amateurish ways, thinking that a simple meeting would solve planetary war.

Slaine is the crux of emotional occurrence in ALDNOAH.ZERO. Throughout the entirety of the series, the Terran-born boy struggles between supporting the Terrans and/or the Martians. He doesn’t fully support the Martians, but simply Asseylum. When I think of it this way, it clears a lot of the mud that crowds Slaine’s decisions.

In Slaine’s regard, the end of the first half of the series is probably one of the most suspenseful and unexpected twists I have ever seen. Because I don’t want to spoil too much it will remain your unknowing secret. I can understand complex emotions, but wow, I was not expecting that. For those who have seen the end of the series, how shall we encrypt that last line? I guess we’ll just have to wait for season two in 2015. It’s going to be a long wait. . .

The animation quality for this show is phenomenal! Not only that, but the soundtrack by Hiroyuki Sawano contains epic, pumped up techno action pieces that engage me into combat. It fits the high-tech battlefield mood perfectly. The show is filled with awesome robot combat and explosive maneuvers that left me swerving in my seat to dodge flying metal fists or energy blades of death! It is interesting to note that the studio that animated ALDNOAH.ZERO also did the infamous Sword Art Online, a series which had a second season running at the same time. A-1Pictures must have been very busy, as the animation quality for both series is top-notch – definitely some of my favorite animation.

With Urobuchi comes Kajiura, as Kalafina performs the series’ amazing opening “heavenly blue.” Jesus, I love this music so much! Kajiura pulls out all of the stops in this new opening: the techno groove is hot and upbeat. The show’s ending theme, “I Say Cry” by aLIEz (also by Hiroyuki Sawano), also deserves an honorable mention. Both of these are a must-listen.

I fully recommend ALDNOAH.ZERO to fans of Urobuchi’s works and for people that are looking for something with sci-fi action-packed fights with great background music, and a well-paced plot to where you want more after every damn episode. So isn’t that everyone? Well, yes and no. The last few “bosses” are lack luster and require Inaho to just hack and slash; no real strategy is required. Because of such a loss, the crafty interest in both Inaho and the Martain generals drop tremendously. Nevertheless, I will be awaiting the second half for this great adventure of revenge, tragedy and hope. “Let Justice Be Done Through The Heavens Fall.”

At the moment, you can watch all of ALDNOAH.ZERO on Crunchyroll.  I really hope the show receives localization and a dub, because yeah, I thought it was worth watching again. Leave a comment below and thanks for reading! Till next time this has been

– Takuto, your host