Tag: drama

Categories
Reviews

Welcome to the NHK! – 8 – Meet the parent

It’s time to meet the parents, only Satou doesn’t have a girlfriend, or a job, or a life outside of his apartment, making the whole arrangement pretty awkward from the get-go. If only Robert De Niro was his Dad – what laughs we would have!
Judging by his mother’s phone call in the previous episode, I wasn’t expecting her to be quite so cool though. She wasn’t the demanding and expectant figure anticipated, instead she comes across as the first thoroughly likable character in Welcome to the NHK!, in other words, a real parent to her son. When she realises Satou is basically lying about everything, she doesn’t throw a fit — rather just acknowledges the fact that she has a weird son. When she surprisingly leaves Satou and Misaki to have a "real date", you get the impression that she is content in knowing that Satou has made friends good enough to help him out with his insecure, paranoid bull shit. For now, a hikkimori Satou is not.
The rest of this episode is notable for how Misaki is warming up to Satou — they engage in a real date and nearly kiss, only to be distracted when Satou’s phone rings — a cliche "rom-com" way of padding out the now inevitable romance? Misaki makes several hints about her troubled home life too — clearly she is hiding some dark secrets about her past and probably needs Satou as much as he needs her. Where the narrative goes next will probably define the true path of the rest of this series.
I’m really enjoying watching Welcome to the NHK!, it has a cast of characters bustling with fascinatingly broken personalities and is completely unpredictable in whatever colourful, dreamy direction it decides to head in next. The art, though the quality varies, often shines with style when emphasizing a moody or emotional feeling – the flackback to Satou’s childhood in this episode being a prime example of this emotive aesthetic beauty.

Categories
Reviews

Elfen Lied – 8 through 10 – Subverting the cute

Again Elfen Lied defies it’s pretty style and delivers a trio of episodes that are anything but. Subverting the look of its cute characters, it clearly delights in extreme mental and physical abuse — the disgusting bludgeoning of a helpless young puppy aptly symbolises how innocence and weakness is exploited in Elfen Lied, and that’s just the humans. Sometimes it’s hard to watch, but when young orphan Lucy is slowly corrupted by the hate and taunts that surround her, a sense of empathy forms between her and the viewer, or at least we understand that if a young kid is bullied into a corner and has no one to turn to, the inevitable result is tragedy. Lucy just happens to be a Diclonius.
What makes Elfen Lied stand out is the way it delves into characters, explores their relationships and personalities. I’ve already talked about Lucy but I’ll say again that through this flashback to her lonely past, we suddenly start feeling something for this so called monster. She is still dangerous, her power still utterly brutal, but behind the gore now lays sympathy. Lucy is a product of her upbringing — in other words, she is a product of human society, granted she had a particularly tough time at school (tougher than the average kid) but shunned and taunted for her looks, betrayed by her friends, it’s no wonder she grew up with such a hatred of mankind.
Before ending the review, there is something else worth noting. The artistic, evocative opening animation and accompanying prayer-like melody is darkly outstanding, it perfectly sets the sorrow-filled, forsaken mood and looks wonderful too. The art is so layered and detailed but expressive and full of meaning that its well worth watching on its own time and time again.

Categories
Reviews

Welcome to the NHK! – 7 – Is Misaki Real?

Although it’s not nearly the “best” series airing at the moment, I often watch Welcome to the NHK! as soon as it’s downloaded. I have the first 6 episodes of Bokura Ga Ita stocked up, another four of Legend of the Galactic Heroes and even the most recent Honey & Clover- but it seems (whether I like it or not) NHK! comes first. It’s not that I find it easy to watch – it’s actually the opposite, Satou scares me. His deluded fantasies, wild pipe dreams and attempts to cover up his “NEET” life style are morbidly close to the bone. Many people move through life like him; escaping reality by depending on impossible dreams, only to wake up 10 years later and wonder what the hell happened. I hope Satou snaps out of it by the end; no, I’m not talking about him and Misaki getting it together or some Hollywood bullshit like that, however he must (or I hope that he will) at least turn the corner.
Episode 7 was totally about characterisation, and it’s all brought on by his mum; she is set to visit Tokyo and in usual style, Satou lies through his teeth to cover up the Hikikomori situation. The saddest thing about this scene is that his mum buys it all, about him having a girlfriend and everything; it puts her mind at rest, knowing her son is “normal” now. Satou’s despair after the call “Don’t be so happy” (more like relieved) says it all.
The rest was fairly cute fun; Misaki ends up playing as Satou’s girlfriend and they go on a pretend date that raises just as much questions about Misaki’s situation. Who is she? Is Misaki -or the Misaki being seen by Satou- even real? Notice how she isn’t clocked by Yamazaki when she enters his room, and how we only ever see her talking to Satou. It’s worrying and distressing to think she could well be a figment of his imagination. Obviously that would explain why she knows Satou’s phone number (and all the rest) – but for his sake, I hope she is real. And for my sake, I hope I haven’t just guessed the big plot twist of NHK!

Categories
Reviews

Honey & Clover II – 7 – Bleeding with a flickering hope in life

As far as hyperbole goes, this was quite possibly my favourite episode of Honey & Clover II. No doubt I could say that after every episode- but this seventh instalment particularly deserves praise for violently jamming the second season in a completely different (and darker) direction.
It’s not that I was getting sick of the likes of Yamada angsting over the same old melodramatic things, instead I’m simply enthused to see an episode more akin to the first season- a somewhat sad story filled with life-affecting, thought provoking symbolism and philosophy.
Tatsuo cuts an absolutely ambiguous character; morally what he does to Tsukasa Morita is wrong, yet his sympathetic envy is so well emphasized through the use of some touching symbolism. His best friend can fly, so why can’t he? What makes him so damn special? As individuals we’re all brought up to feel one of a kind, destined for greatness. But when the harsh reality of life kicks in, and we find ourselves stuck in the shadows of others, how should we react – after all, realising you live a mediocre life sucks.
Typically the ever changing colour scheme and art work for this episode matched the muted, sombre tone with such whimsical aplomb. My favourite scenes included Tatsuou and Kaoru’s walk through an open expanse of beautiful golden fields; such expressive, emotive style bleeding with a flickering hope in life.

Categories
Reviews

Noein – And so we reach the end

I feel like I’ve been watching Noein for years now and writing this entry is daunting. Complex multi dimensional time travel, heart breaking tragedy and gut wrenching friendships. Here is a series bursting with ideas and without breaking into an essay length review, it’s hard to do justice to the sheer narrative majesty of Noein.
I marathoned the last 6 episodes tonight and I’m now lulled somewhere between admiration and confusion. There is no denying Noein was heavy on time travel techno-babble and I’d be lying if I said I understood it all, but still – what a ride! I was first attracted to this series because of its unique art and the final couple of episodes are a total blur of world sweeping conflict and hulking gangly monsters. Experimental is a word I’d use to explain how a lot of this looks- there is a real speed and physicality about the action in Noein, often the character designs contort and take on new styles, but it’s always exciting. We feel every punch, fly alongside Karasu and watch his cape ripple in the wind every time he takes on another crazy opponent.
Almost all of the characters turn out sympathetic yet flawed, and essentially human. Of course at the heart of Noein is the relationship between Yuu and Haruka, but the rest of the cast are just as important (if not more so). For example Atori is such an insane, heroic bundle of pent up emotion, by the end of the series he will surely be everyone’s favourite; the lovable eccentric, tinged with a tragic war torn past and an attraction to self sacrifice, his transformation through out Noein encapsulates my growing attachment to most of these characters. The “flashback” to La’cryma’s younger versions of Miho, Isami and Hasebe was a harsh and gruelling example of utterly captivating characterisation.
The underlying theme of Noein- that no one should try to deny their future (or change the past) – was conveyed with fairy tale elegance. Things never get too dark or depressing, and there are enough laughs and stupid moments to lighten the tone and offer up some rest from the sometimes unrelenting onslaughts of mind bending time travelling theories. The story may suffer from spending a bit too much time meandering in the every day angsty lives of young teenagers but this is merely a passing complaint- when anime looks as exciting as this, and grasps your heart as well as your mind, it’s a winner. Noein is a winner.

Categories
Reviews

Mushishi – 24 – Bound for Bonfire Field

Another episode that was only average in comparison with Mushishi’s previously sky-is-the-limit standards, “Bound for Bonfire Field” showcased one of the more deadly mushi Ginko has come across but failed to deliver the profound human empathy I’ve come to expect of this magical series.
The main problem is this episode’s frustrating central figure; a female mushishi who arrogantly spurns Ginko’s advice in favour of brashly burning down a field to kill a poisonous mushi, there by destroying countless trees and massacring the surrounding wild life too. Inevitably she (and her misguided neighbours) pay the price for her ignorance, but her evident lack of emotion by the time the credits roll left me feeling somewhat dissatisfied. The allegory of this episode; that fear can drive people to self destruction and that in acting rashly, you end up doing more harm than good, was an underplayed and subtle theme. Many allusions could be made to the real world’s current political climate.
As ever the art direction was fantastic and revelled in some beautiful (albeit short) glimpses of wild animals. Just as impressive was the sad yet alluring sight of a burning field, an entire night time landscape enveloped in flame and ash.

Categories
Reviews

Honey & Clover II – First and fleeting impressions

Honey & Clover is said to epitomise the ambiguous “slice of life” genre – a typically slow, ambling style of story telling with no true narrative direction. Indeed, Takemoto’s impulsive journey around Japan is all about finding a definitive meaning to his existence only to discover that ultimately, there is no set path for us all to follow; that life and youth is random and fleeting; about searching and wondering, rather than knowing it all.
If Honey & Clover was thick with such philosophical commentary but lacking in conclusive fulfilment for the viewer, then it’s sequel is the opposite; Honey & Clover II has almost done away this cloud glazing ponderment and locked in on the various love triangles that make up its cast. Now it is very much a case of wondering who will end up with whom and sometimes (and even Mayama admits this) suffers from being bogged down with hammy dialogue and a sickly sweet sentiment.
The truth though is that Honey & Clover (I & II) is surely the essential anime for our generation. In being made now, it has captured and expressed every young adult’s profound worries and nostalgic thoughts about life and love in such a contemporary, trail blazing style. The wistful animation is ultra expressive, fluid and engaging while the longing soundtrack is raging with a burning emotion. This is a great series, that should become one of the greats.

Categories
Editorials

Welcome to the NHK! – 2 – Crazy-otaku neighbour to the rescue

Sato meets with young Misaki to talk about her “how to take the hikomori out of Sato” project. Though with his trademark destructive hiko-nature, Sato immediately tries to deny his shut-in ways by proving to Misaki that he does have a part to play in society after all. In embarking on this mission, he ends up getting involved with his crazy-otaku neighbour and by the end of the episode; they are planning on developing, as a means of doing something (anything) with their lives, their very own porn game… It’s a start, I guess?!?
Despite lacking in the more surreal, vivid moments that so punctuated the first episode, NHK – 2 was still an impressive follow up with just enough self depreciating wicked humour and melancholy reflection on (missing) life to be entertaining without crossing the line into out right depressing. Sato has chosen the wrong neighbour to work with though- after all if you are looking for a helping hand in life, the last person you need advise from is a perverted otaku; I wonder if he has an anime blog?!
The rocky soundtrack is still one of my favourite aspects of this show. The opening five minutes were great just because they are backed by this acoustic band music- such refined sounds can add so much more impact to a scene and NHK! has got this important balance between emotional, sad and crazy music spot on.

Categories
Editorials Reviews

Neon Genesis Evangelion – Why is it classic anime?

Neon Genesis Evangelion is considered by many critics to be a “classic” anime series. Loved and loathed in equal measure, its polarising reputation for invoking a distinct reaction from its viewers endures (inside and outside fandom) even today- an impressive feat being as it is a decade on from its Japanese TV debut. But what defines “classic” anime? Why is Evangelion still as relevant today as it was back in 1995?
“Classic” art direction
Art direction and animation fluidity are two separate entities. Neon Genesis Evangelion never had a huge animation budget, but its unique visual style still strikes a profound chord with its viewers. Unique and iconic, the colour scheme is exciting and suits the raging mood perfectly, strange bio-mecha designs and (if albeit redundant) religious symbolism top off a visceral presentation that instantly burns itself into memory.
Emotive characterization, world-wide accessibility and relevance
People either empathise with or passionately denounce Evangelion’s main character, Shinji Ikari. He is the ultimate “average” kid from a broken home, frustratingly shy and painfully reluctant. He isn’t a hero, just an awkward geek. The other characters are all breaking down in their own personal ways; Asuka’s fear of rejection and Misato’s desperate loneliness. These are close to the bone universal human emotions, characterised in realistic, painful circumstances and directed with an almost sadistic lack of warmth, relevant to every generation.
Sophisticated, controversial story teller
Under a slicker director, Evangelion would be another RahXephon; efficient, exciting and romantic but ultimately lacking any true sparks of originality. Hideaki Anno put his heart and soul into these characters and placed them within the confines of a mysterious plot to end the world, refusing to compromise on showing the unpredictable uglier sides of human nature. We’ve all been unhappy with ourselves or others at some point in our lives and what if at this exact moment, you were given the chance to save the world. Would it be “OK! Let’s do it!” or “Why me? Feck off!”.
Conclusion
Although I don’t consider Neon Genesis Evangelion a personal favourite, I accept it as a classic anime series. It took the formulaic mecha genre and transformed itself into an extremely potent mix of visceral art, controversial drama and symbolic science fiction. From what I’ve learnt, a “classic” movie or TV series is defined by global accessibility, (current) relevance and sheer impact; Evangelion is as popular today as it was 11 years ago.

Categories
Reviews

Mushishi – 23 – The Sound of Rust

In a village where humans are literally rusting away and being physically covered in (ever worsening) scabby brown marks, only this one girl (Shigure) appears to be immune from the disease. The bitter villagers blame Shigure for their ill-health, curse her existence and treat her as an outcast, and for her part, racked with the guilt of causing such misery, Shigure stopped speaking (to anyone) years ago. As ever, it’s down to Ginko to get the bottom of the mystery of the “Sound of Rust”.
Despite being a relatively straight forward episode by Mushishi’s standards, I still enjoyed the Sound of Rust for its typically emotive human drama. I liked how despite living years of her life in the shadows, ridiculed and insulted, Shigure wants for nothing but to attone for her vindictive neighbours suffering, granting them happiness and peace. It’s often the people who are constantly savaged by such strong hatred that turn out to be the thoroughly good hearted ones. I suppose when you have nothing left to lose, you have nothing left to cry about either.
Sound (as the title of this episode suggests) plays a big part here and Shigure’s voice; or more specifically- her multilayered scream, is suitably creepy and disquieting. Given this spooky sensation, the ending is almost too happy to believe; everything turns out okay (even the villagers are cured) and frankly I’m shocked by just how positively down-the-middle Ginko fixes it all. A refreshing change to get a traditional Hollywood ending for once! Unpredictable as ever, Mushishi.