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After squinting really hard for a very long time I have determined that Sousou no Frieren is not an isekai and is safe to watch. I think.

Sousou no Frieren is about a cute elf coming to terms with her autism as all her friends die.

I've always been fascinated by the concept of a show taking place after the "main story" has concluded. In this case the elf Frieren and her companions set out to defeat the demon king with the story picking up long after their victory. With the villain defeated and the world in an age of relative peace the story shifts ... focus- all of Frieren's mortal friends are dying of old age which sets her on a journey to the afterlife so she can know them better. She starts her journey by unwillingly taking on a young apprentice named Fern. Together they set out to reach Aureole, or "heaven", so that Frieren can speak to her old friends one last time. Conveniently, Aureole lies just past the demon king's old castle so Frieren and Fern can retrace the steps she took all those years ago. This creates a setup where in each episode Frieren can relive some of those memories. What a beautiful and restrained premise- but things are never so easy.

It's not long before Sousou no Frieren sabotages itself and becomes a tonally inconsistent mess by adding conflicting shounen tropes. It really starts with the introduction of the demon characters around episode 8. They are basically throw away villains just to show how strong the three main characters are. A dramatic battle ensues with the heroes looking down and out before the power of anime and friendship gives them the resolve to pull through to no one's surprise. There's even a point where Fern has one of the demons cornered dead to rights and lets them get away because there's "not enough time" or some other very contrived reason. As it turns out, we needed all of this to learn that hiding your power level or mana is important because demons are dumb. In the later half of the season we get the Chuunin Exam arc but with magic. Frieren and Fern enter a trial to become 1st class mages, but it's essentially a tournament arc where every character shouts their jutsu's name and explains to their opponent how it works in painstaking detail.

Ignoring these are the same tropes that have been done to death, and even ignoring they aren't particularly done well, why even have them in an otherwise slow-paced calming story about appreciating the people close to you? Call me old fashioned, but I enjoy when everything in a show- story, themes, atmosphere, aesthetics, etc. work towards a singular goal. I feel this is something most anime have forgotten how to do. I mean I get it, from a writer's or studio's perspective mixing multiple popular genre elements together, regardless of whether they fit, is probably what checks the most boxes and appeals to the largest demographic. I suppose it's hard to trust the audience will pay attention without action, fan service, or some other kind of unnecessary hook but I really wish they'd give us the benefit of the doubt sometimes.

There's a handful of other issues I had throughout Sousou no Frieren. Sometimes the slice of life antics, while not as conflicting as the shounen elements, can be just as predictable, the world building is your typical fantasy fare, and the fan service, while minimal by today's standards, isn't as seamlessly integrated as I'd like. The art, while well done when it comes to the "moe" aspect of the show, conflicts with the action and darker fantasy elements, tying back to the tonal issues. In particular the demon designs aren't threatening or very inspired. They are not scary and some I actively want to stick my dick inside of. Compare that to the demons in Berserk, where only one of those things is true.

The characters are certainly what elevated Sousou no Frieren for me, at least enough to keep me watching. While not ground breaking or exactly unique all of the show's strengths revolve around their strong characterization. Frieren is perfectly depicted as an unmotivated and aloof genius mage. Likewise, Fern is perfectly depicted as the serious, responsible, but kindhearted prodigal student. The same goes for the rest of colorful cast which consists of a degenerate priest, a stern warrior dwarf, and many more, all of which I found to be endearing and charming. If I had to pick a weak link it would be Stark. Whether that's because I found his brash young warrior persona to be too trope-y or because he's not cute like Frieren and Fern I'm not entirely sure. Even then, he's not that bad and has his moments. For example, the romance between him and Fern is a fun dynamic.

So yes, at times Sousou no Frieren is a thoughtful look at the passage of time and the nature of relationships. Too often, however, it's the same shounen and slice of life shenanigans we've seen a hundred times. It could have been so much more, and maybe that's just me wishing the show was something it's not but I genuinely believe it would be better for it. So in the end, Sousou no Frieren is much like a sunrise- it's very pretty but not worth waking up early for.

*Potential Spoilers

Patlabor follows the misadventures of the Division 2 squad as they struggle to prove their worth as a police force to Japan and its citizens as they fight terrorism with robots called labors.

Despite the straight forward premise Patlabor plays out quite differently than most mecha. In fact Patlabor is closer to Ghost in the Shell (minus the serious tone and techno babble) being more of a police and procedural drama than actual mecha. Probably the biggest difference is that most of the episodes in Patlabor revolve around small scale issues like a drunk ... guy stealing a labor or what the team should order from the local Chinese restaurant. While there is a fair amount of robot action it is refreshingly restrained and grounded compared to almost any other mecha. Instead, the show is very character driven with a lighthearted tone which is complimented by these quiet and often silly episodes giving it a levity and a uniqueness that is not often seen.

Patlabor’s scaled back plot is equally complimented by its decision to follow Division 2. Rather than follow some elite and infallible team, Patlabor puts the spotlight on the eternal underachievers and lovable misfits of the Division 2 squad. Not only are they tasked with stopping crime but they also have to look good while doing it to justify their existence to the public and government. This is harder than it seems, because for every bad guy caught there is another piece of property destroyed in collateral damage and yet another insurance claim against them. Division 2 can never quite catch a break, and even when they don't outright fail their success is never simple and clean. While they may not be the most competent, they have a lot of heart and are more relatable for most people than the typical anime cast.

It’s hard to explain exactly how these two seemingly small things make Patlabor so special. To put it simply, they create moments and a tone that would difficult for the average mecha story to maintain. A highlight of this is an episode where two characters on the team are fighting. To solve this the commander takes the whole team out for drinks. In their inebriated states both characters confess their insecurities to one another and they are finally able to see eye to eye. The episode ends on the message “We can only trust others when we see their weaknesses.”. It’s a simple thing, but it’s portrayed very elegantly as much of the series is. Not only does Patlabor focus on these smaller moments but it does so in a very relaxed and almost slice of life manner.

If I had one criticism of Patlabor it would be that one of the major overarching plot points goes unfinished, at least in this particular series. There is an overarching plot about a mysterious group developing new labors for unknown purposes and testing them against Division 2. Late in the series there is a big battle but they simply retreat and are never mentioned again. More closure or any at all would have been nice here. Luckily, the other overarching plot point about Division 2 struggling to stay afloat has a conclusion which softens the blow a bit.

Patlabor is one of the most unconventional and charming mecha I’ve seen. The optimistic and wholesome nature of the show stands in direct opposition of the angst-ridden characters and overblown drama mecha has become synonymous with. In a genre where it’s easy to get caught up in all the flash and spectacle Patlabor shows great and thoughtful restraint, and when so many stories are focusing on the grand sometimes the best thing you can do to stand out is to stay grounded.

*Potential spoilers for Oyasumi Punpun

I once heard a saying that life is 90% shit and 10% good. I thought it was one of the most beautiful things I’ve ever heard because at least you know there is 10% good to look forward to if nothing else. Being able to capture that fleeting hope is what makes misery porn work for me.

3-gatsu no Lion is yet another entry into the sad boi genre but this time with 99.7% more shogi.

I would classify the first season of 3-gatsu no Lion as a drama with slice of ... life elements. The opening scene has become something of a legend. We see the main character, Rei, slowly wake up and get out of bed as he starts his day. With just a few beautiful shots the viewer already understands that Rei has probably done this countless times, each time just as lost and without purpose. It is clear he is someone who has experienced pain and tragedy. This excellent story telling last for about all of five minutes before subtly is thrown out the window and is replaced with a million slow pans and grimacing face shots every time someone so much as says “hi”. At this point my PTSD was acting up as every series that focuses on depression flashed through my mind. I wondering when Rei was going to refuse to get into the robot and thought it was just a matter of time before he was going to go jerk off into the river by his house. Fortunately the direction changes, unfortunately that direction still isn’t spectacular.

I would classify the second season of 3-gatsu no Lion as a slice of life with drama elements. Rei's depression is healed for the most the part and I guess the story is over but it isn't. Instead, scenes of Rei moping about is changed to more scenes of food and other uneventful things. Much like every other slice of life there’s a lot of pointless bullshit, sometimes it works but most of the time you just want to kill yourself. Seeing Akari and Hina enamored with food is cute, but so are cat videos on Youtube and they take up much less of my precious time. At this point in the story I was only invested in seeing Rei's journey to be a shogi master given that is the only thing providing a sense of progression, however painfully slow it may be.

The tonal shifts between seasons leave me wanting. While it could be written off as Rei's journey I find that his transition from someone who was in such a dark place to someone who is partaking in high school club shenanigans is quite jarring. I don’t think it’s a problem with the tone being inconsistent per se but more so how fast it all happens with what little we’re given. While the second season tried to have some darker moments with the bullying arc it didn’t really work for me. It felt over the top, not necessarily impossible but just improbable given the lack of depth the situation had as a whole. We only know Chiho for about an episode before she is hospitalized for bullying? The teacher has a mental break down because all of the bullying situations over the years have caused her anxiety? Takagi’s reason for being a bully is because she is anxious about her future? For how dramatic everything was it needed to have a good sell and I just didn’t see it. In that sense I feel the first season had much more impact.

Despite the second season falling short in terms of the drama, it also focused more on the aspects of the series I enjoyed the most and that’s the backstory of all the shogi players and the psychology of the matches. Each and every player has their reasons for playing and their own demons to conquer. Though some of these could be considered a little cliché, I find it matches the tone the story has which tends be a little grand. I mean, I felt like some of these characters would literally die during the shogi matches the way they talk and act. I think the competitive aspect appealed to me because I use to play TCGs competitively back in the day and a lot of the psychology of winning, losing, and etc. is spot on in those environments. It's a long and dark road, and if you ever want to see the worst humanity has to offer just go to a Yu-Gi-Oh! tournament. That all being said, I'd say I prefer the second season as a whole.

Overall 3-gatsu no Lion is a very interesting case. It falls into the pitfalls of both of its genres but they also kind of cancel each other out and then create new problems. The story plays it close to the line with their focus on Rei's angst, but the slice of life non-sense they shift to doesn't thrill me either. The story in general can't make up its mind, as it can be very realistic one moment, then go full anime the next. Through out this there are moments I like of course, but that’s just it- I felt like I was waiting for moments instead of enjoying the series as a whole. As for what those moments ultimately count for, I’d guess I’d say 3-gatsu no Lion is about 60% shit and 40% Akari.

*Spoilers~

Have you ever wondered what it would be like it living with a bunch of middle aged hipsters turned terrorist as a young teenager with Stockholm syndrome? Wonder no more.

Eureka Seven is the age old of tale of reckless youth, expectations, and truly finding ones self. Renton, a wayward youth bored of his simple life, is lured into the glamorous world of lifting when the Gekkostate comes to his small town. With promises of fast hover boards and faster women Renton is quick to trade his old mundane life for a promising new one. However, all is not as it seems and Renton quickly ... discovers the Gekkostate hides many dark secrets. Holland, the leader of the Gekkostate, uses hallucinogenic drugs, violence, and extortion to control the rest of the crew in a cult-like manner and it is revealed the Gekkostate is really an anti-government terrorist cell. Trapped with no way out, Renton finds himself the victim of constant abuse with his only escape being when he is able to confide in Eureka, another young member on the Gekkostate who he develops feelings for. Renton is forced to make the difficult choice of trying to escape his new found prison or fight to save the girl he loves. At least, that is my headcanon.

In the future terrorism has a new face. No longer is it exclusive to extremist, unless you include the extremely rad, terrorism is now done by the trendy and hip. Bombings are traded in for sick hover board tricks and beheading videos are traded in for pop culture magazines made to inspire the youth to rise up and join the cause. This premise is stupid and I hate it. However, since I am also stupid and hate myself I decided to watch Eureka Seven anyways, and it ended up being not the worst thing in the world. One of my favorite aspects of Eureka Seven is just how bizarre it can be. There are mecha that ride hover boards and transform into race cars and sometimes jets. There are aliens that look like balloon animals that eat people. There are even plants that look like cute girls. Truly there is some wacky shit going on in this universe.

Unfortunately Eureka Seven does a poor job of balancing its many themes and ideas. Instead of taking the time to focus on any one of its more interesting concepts, the story tends to introduce them just so they can be promptly ignored for the sometimes cute but generally tedious relationship drama between the two main characters Renton and Eureka. This seems to be a product of simply too many things shoved into one story which isn't helped by the uneven pacing that can make the interesting aspects of the series seem underdeveloped while making the less interesting aspects more of a slog to get through. I really would have preferred to learn more about certain characters and plot threads rather than sitting through more sappy romantic dialogue.

Another issue brought about by the many conflicting story elements in Eureka Seven is the inconsistent tone. Switching between slice of life, romance, and war drama makes for some jarring transitions. One episode will have Renton and Eureka go through a minor relationship problem while the next episode will have people's arms getting ripped off. Characters sometimes even lose all internal logic and consistency in the same dialogue interaction going from "This is a serious operation!" to "WoAh loOK aT tHat WavE bRo, LEt'S LIft!". I believe the series would be vastly better had it focused on just one angle.

The characters of Eureka Seven are a complicated thing, as I think they are potentially the best and worst thing about the series. Renton, the protagonist of the series, is a likeable guy. After seeing Eureka he falls in love with her for anime reasons and decides to throw everything
away and join the Gekkostate just to be with her. Despite Renton's questionable reasoning abilities, which plagues him throughout the series, he is hard working, driven, and always tries his best regardless of how poorly he is treated. Being a teenager and a mecha protagonist however Renton still has his mandatory angst arc, but it's not as annoying as say, Amuro from Mobile Suit Gundam or Shinji from Neon Genesis Evangelion as Renton actually has some legitimate reasons to be upset. Eureka is the token dandere of the series and is, as mentioned before, the main love interest. Though she doesn't stand out much the story explanation for her dandere personality traits are well written and believable enough.

The rest of the Gekkostate are, for the most part, giant cunts. Imagine the most obnoxious hipster stereotypes you can and then turn them into anti-government terrorists because that is essentially the crew of the Gekkostate. First off, most of these degenerates are far too old to be acting the way they do and they come off as those creepy middle aged people that hang out at parties with teenagers. Needless to say I wouldn't trust any of them around small children, especially Hap and Stoner. Second, they are just mean spirited people as they treat Renton like garbage despite his best efforts to be useful to them. They constantly haze him, use him for bitchwork, and use him as a scapegoat when it suits them and all for no reason other than he is the new guy I guess. This can be difficult to watch considering Renton appears to be the hardest working and most decent member among an otherwise unorganized, unmotivated, and unprofessional hippie cult turned anti-government terrorists.

The biggest offender however has to be the Gekkostate's leader, Holland. Holland is an ex-military man who deserts after some psychic homeless man tells him to rethink his life. It turns out that the homeless man is the leader of some plant cult and impressed by his telekinesis Holland forms the Gekkostate and becomes a raging asshole who is unable to accept any responsibility for anything. Instead, Holland takes his anger out by abusing Renton either physically or mentally while other members of the Gekko just stand by and watch. Holland eventually becomes slightly less psychopathic in some poor attempt at a character arc as we learn the reason he is so cunty is because of his jealously of Renton being chosen by Eureka instead of himself. To say the justifications for any of these characters' actions towards Renton fall short is an understatement as they all just come off as disgustingly selfish. I guess I should applaud the show for it's realistic portrayal of how bad a bunch of radical hipsters would be at anything useful, but really I was just expecting Renton to say "Don't go to Gekkostate tomorrow, some of you are cool people...".

Standing in stark contrast of the Gekkostate are the freelance mercenaries Ray and Charles who are arguably the best characters in the entire series. Both use to belong to the same special forces group that Holland did and it is implied through flashbacks that they all share a rich history together but yet again it just doesn't get much focus. However, what is important is Charles, the disco king, is manly as fuck and equally benevolent. Together the both of them take in a disillusioned Renton when he abandons the Gekkostate about midway through the series. In that time, Renton discovers what family is as Ray and Charles treat him with the gentle and loving kindness that the Gekkostate never did. And here is one my biggest points of contention with the series, Renton decides to go back to the Gekkostate seemingly forgetting all of their transgressions or just accepting it because writing is hard. It would be one thing if he was just going back for Eureka as is initially implied but he ends up staying with them for rest of the series as if nothing had ever happened.

Luckily most of the remaining characters are fairly logical and well reasoned individuals as the story also follows the military as they chase down the Gekkostate. The main two being Dominic and Anemone who are foils to Renton and Eureka albeit with a slightly healthier or unhealthier relationship depending on how you look at it. Dominic acts as the unstable Anemone's handler and he oversees her battles. It is clear that there is a bond despite how one sided it may be and it is a shame their relationship didn't get more of the spotlight so it could develop naturally rather than them just turning into the perfect couple at the last minute. Regardless, it is still pretty cute I guess and they are enjoyable characters. A special shout out to Jurgens who plays the role of the stern captain with the golden heart. It is endearing watching him as he puts up with all these hormonal teenagers and their bullshit. He is a surprisingly sympathetic and relatable character despite his short screen time. Lastly, there is the main antagonist of the series Dewey, who should be noted for his spectacular ability to be a threatening antagonist despite being named Dewey. He also has some pretty sick burns when pretenders try to step up to him. Beyond that Dewey is probably the most complex character in the show and has a good mixture of mystery, sense of duty, and scheming that is compelling to watch as it all unfolds.

While it is arguable whether there are more hits or more misses when it comes to the characters of Eureka Seven, the show certainly focuses on the misses a lot more. As the story tries to paint the Gekkostate as the good guys the disparity of their actions paints the opposite, thus making the time spent on them seem pointless. Meanwhile the military seems like pretty chill guys to have beers with. Again, more focus on these characters would have been great but they are still entertaining for what we do get. Ultimately the show ends up in this weird position where the characters are both what keep you invested but also makes you want to turn away.

Production value wise Eureka Seven is pretty impressive and Bones does a admirable job. The art for the most part is pretty unique taking influence from Japanese LSD culture and the bizarre visuals support that. They manage to make giant balloon animal demons terrifying which speaks for itself. Interestingly enough I found the weakest part of the art to be the mecha design despite the novelty of them being able to turn into race cars and planes and ride hover boards. I was also pleasantly surprised by the English dub being quite good so that's worth mentioning.

Eureka Seven is a giant mess of ideas woven into a ridiculous story that is entirely clueless when it comes to putting it all together. Despite that, it also has a direction and vision that is far from uninspired or generic which is very commendable. And though I still can't tell if it's secretly genius or just retarded I was able to find enjoyment in all of the absurd madness the show had to offer and it was a fascinating ride in the end. That said, I hope the Japanese learned their lesson and never take LSD again.

*Potential Spoilers

You know the one thing I wanted in an FLCL sequel? A Kardashian reference because that will surely age well.

FLCL Progressive and Alternative tell the familiar story of being a teen and the all the troubles that come along with it… except without any of the subtly or charm of the original.

Sequels are usually a bad idea to begin with, but sometimes they are tragedies with both Progressive and Alternative unsurprisingly falling head first into the latter. It is not so much because they are outright terrible, but how heartless they and mediocre they are as they go through the motions. I know it ... is not completely fair to judge things by comparison, but I’m about to do a lot of judgement by comparison. The original FLCL is truly one of a kind. It balanced over the top wackiness with heart felt drama making for an entertaining and surprisingly touching coming of age story. It shouldn’t have worked as well as it did but here we are with FLCL cemented as a cult classic which is impressive in its own right. It was unique and refreshing, even if flawed, and it’s hard to argue it didn’t stand out regardless of how one felt about it. FLCL Progressive(ly Shit) and Alternative(ly Shit) on the other hand soullessly copy certain aspects from the original in an attempt to recreate the magic and fail grandly, ending up with no identity or personality of their own and worse yet forgetting basic elements of storytelling in the process.

There are no interesting characters in either Progressive or Alternative. Hidomi, the main character of Progressive, seems to have the most interesting if not familiar story out of all the new cast yet this is blundered by lack of focus making for a less than satisfying ending. Instead, focus is shifted to Haruko who has now been reduced to nothing but a prop with her crazy antics taken to an obnoxious level as if that was what made her interesting in the original series and not her interactions with Naota. Worse is Kana, the main character of Alternative, who is so generic and uninspired in every way it makes one appreciate Progressive’s characters. While Hidomi’s story of an absent father at least had potential Kana’s story resorts to your typical power of friendship clichés which feel so forced I wanted to throw up.

The other issue Nu-FLCL suffers from is the terrible pacing. The original FLCL was quite effective at conveying a lot of information succinctly and by the end of the first episode we understand Naota’s troubles and motivations. By comparison Progressive opens with nonsensical dream sequences while Alternative opens with narrations similar to the original except without the nuance. From there both are so disjointed and poorly structured that only the last two episodes seem to matter. While Progressive’s ending is serviceable at best Alternative’s ending is so contrived and out of left field that it works against it.

If there is one thing Nu-FLCL is guilty of it is being absolutely forgettable, which despite its flaws, the original wasn’t. Equal in mediocrity I can’t say Progressive is ultimately better than Alternative or vice versa. I guess if I had to choose I would choose Progressive because it wasn't as on the nose as Alternative and Hidomi is cute, but neither cute hime cut grils nor The Pillows could save either of these two messes in the end. So, unsurprisingly, another unplanned sequel that never needed to exist to begin with flops and everyone moves on with their lives. I guess the only thing to do now is to wait for when they announce the timed Toonami exclusive sequel to Cowboy Bebop featuring a new multicultural cast of all female characters so I can finally hang myself.

[SPOILER WARNING]

“Life is immeasurably difficult, things hardly ever work out as planned, and people are generally shitty.” –Goodnight Pun or anyone who has ever worked a 9-5 job.

Goodnight Punpun is the dark coming of age story of some little shit who agonizes over anything and everything.

Goodnight Punpun has three conflicting stories. The first story, told in book one, is about a young boy named Punpun who has a crush on the new transfer student Aiko. Together Punpun and his friends go on all kinds of misadventures like trying to find porn, going to abandoned factories, and etc. Of course, things are not ... always good as Punpun has to deal with his parents fighting and other hardships. At this point in the story Goodnight Punpun is essentially Stand By Me with more misery porn and it is wonderful. There is mystery, soft super natural elements, and an endearing message of struggling through life’s problems.

The second story, told in book two through five, is about an older Punpun who gets sad at the mere act of being alive. Things have not worked out for Punpun for one reason or another and we see him delve into Shinji levels of self-loathing and… not much else. Still obsessed with Aiko for whatever reason, Punpun lives day to day without much meaning. He tries to get women and do other normal things but he is kind of an awkward asshole. He also sleeps with his uncle’s girlfriend and jerks off into the ocean. This part of the story is essentially the worst parts of Evangelion and gets repetitive quickly.

The third story, told in book six and seven, sees the author being replaced by Gen Urobuchi (albeit he is less of hack than he usually is). Things take a turn for the edgy as Punpun reunites with Aiko only to be forced to kill her abusive mother in a bizarre encounter that quickly escalates. Punpun and Aiko then flee and the story fades away into a fever dream of an ending with Aiko hanging herself and an exhausted Punpun resigning himself to die at the abandoned factory he and his friends went to as kids. However, Punpun is “rescued” when his friend(?) Sachi finds him. In the final scene Punpun has a chance encounter with Harumi, a childhood friend who had moved away long ago, giving Punpun a fleeting sense of nostalgia and then the story ends. This ending is poetic in a number of ways. All of Punpun’s previous actions are made meaningless with nothing working out for him even in the end where he is denied a silent exit from this cruel world and is forced to continue a miserable existence. There is no fanfare, rather than burn out the story simply fades away. It is absolutely ordinary and realistic in a way that stories rarely are. For the story told in the last two books, I couldn’t think of a more fitting ending.

Both the beginning and ending of Goodnight Punpun are beautiful in their own right, but they don’t necessarily work together. There is a weird disconnect where the first part of the story is melancholy but still hopeful while the ending is brutally unforgiving and cynical. Other peculiar choices put both stories at odds with each other as well. The soft but pervading super natural and mystery elements, ranging from serial killer confession tapes to psychic cults, work well for the beginning but not so much the ending and, ultimately, don’t go anywhere anyways. While I like both angles neither are nearly as effective as they could have been separately. Instead Goodnight Punpun is left in an awkward middle ground where it is too spectacular to be ordinary and too ordinary to be spectacular.

Other than the inconsistency in tone I felt the characters and plot, at least the side ones, were largely inconsequential. Despite being interesting they don’t really add to the main story significantly. Even if you could enjoy them for what they are, they never go anywhere and don’t have much of a pay off if any at all. They also slightly suffer from the Tarantino effect where you hear the writer in them more than the character to the point of intrusion. It is not too bad, but I would say it walks a fine line. That said I still see a lot of talent in the writing concerning the side characters and plots, but one area that’s surprisingly lacking in writing is the relationship between Punpun and Aiko. Punpun’s obsession is questionably convenient and a hard sell at best, and considering that’s supposed to be the driving force behind most of his actions I was left wanting.

To be fair what Goodnight Punpun does well it does really well. It may not have the cleanest execution but it is still pretty impressive. On a technical level the art is wonderfully detailed and expressive and that alone is worth some merit. I suppose, in the end, one way of looking at things is that two thirds of the story is good, but I have to ask what could have been with just a little bit more polish. And though it may also be the case that Goodnight Punpun and I simply have different philosophical views I can’t help but think of the old saying- pain is inevitable, suffering is optional. As cliché as it is, it is just as true, so I guess I'll end with my own cliché quote.

Life is immeasurably difficult, things hardly ever work out as planned, and people are generally shitty, but, you have to move on.

There isn’t much to Tatami Galaxy. A nameless protagonist, here by referred to as Watashi, wants another chance at a “rose colored campus life with a raven haired maiden”. Through mystical means he is granted the opportunity to do so, thus beginning his journey for that rose colored campus life he so desperately wants though it might just be right in front of him. With such a setup there are not many places to go, and Tatami Galaxy quickly finds itself trapped.

Most episodes follow the same structure of Watashi joining a club in order to reach his goal and falling just ... short of it due to his "friend" Ozu’s schemes. In his defeats Watashi gets closer and closer to asking out his main love interest Akashi but fails to do so and the cycle starts again. Throughout the series Watashi fails to pursue many different opportunities which can become quite tiresome. Granted, that’s the point of the story but taking the “get in the damn robot” scene from Evangelion and stretching it out into an entire series is arguably not a good idea to begin with. When a story presents its ending in the first episode it becomes even more reliant on the journey there to be fulfilling or subvert expectations. Tatami Galaxy manages to do neither and instead we get eleven frustrating episodes of silly misadventures and while some of it can be entertaining it is mostly just pointless and meandering, ultimately adding nothing to the forgone conclusion.

Tatami Galaxy desperately tries to be quirky and relatable to the point where it's off putting. Within the first five minutes of Tatami Galaxy we have obnoxiously fast narrations where the main character just complains about his life, a man with a huge chin slurping down noodles, and some fucker that looks like an onion. It’s a lot to take in right from the start, and anyone who doesn’t see the humor in the spastic and hyper active style Tatami Galaxy offers is in for a very long ride.

The attempts at making the characters relatable just makes them unlikable. The protagonist is a nameless college student who is completely average, filled with regrets, and in general is lost when it comes to life and love. Aren't we all. Despite the eye rolling lack of subtly the story manages to even mess that up as the main character is more like that one friend who has a personal problem where everyone else knows the solution but he just keeps bitching about not knowing what to do despite being told over and over again. It is unflattering in real life and not any better here unless you like cheap self inserts instead of characters.

The rest of the characters are just as irritating and why Watashi is even friends with some of these people is beyond me. Ozu fucks him over on a constant basis and seems to be actively working against him. Higuchi is some hipster who likes to hang out with younger kids for some reason. Hanuki is a cock tease who Watashi is too much of an... anime character to fuck her even when she isn't being a cock tease and is throwing pussy at him. Akashi isn’t much better as they try to portray her as the witty “not like the other girls” type of character one would see in a bad indie romantic comedy but she ends up coming off as just kind of cunty. In fact, the whole series in general just reminds me of a more arthouse version of a bad romantic comedy.

The only thing I got out of Tatami Galaxy that was a unique experience was being fairly annoyed despite not feeling incredibly passionate about the show in either a bad or good way. When a story amounts to “sad guy goes back to college” with the most painfully obvious ending possible there has to be more than just quirky bullshit, Sword Art Online tier pandering, and cliché messages about life that any well-adjusted person already knows. Unfortunately for Tatami Galaxy there isn’t anything more and it ends up empty, leaving me yelling “Get in the damn dentist, Watashi!”.

Makoto Shinkai never fails to frustrate me. His works have tremendous potential, yet they all inevitably end up as shallow exercises in romantic drama that are pretty to look at and not much else. With the release of Kimi no Na wa. I was very skeptical if any of that had changed. It released to the top of multiple anime lists seemingly over night and I figured it would be 5 Centimeters Per Second 2.0, but maybe, just maybe, Shinkai would break away from his old patterns and surprise me.

Spoilers, he didn't.

Kimi no Na Wa. tells the story of a girl ... and boy who mysteriously switch bodies and have to learn how to deal with being each other… or not.

If anyone is expecting Kimi no Na wa. to stray away from Shinkai’s typical formula they will be sorely disappointed. All of his usual angst ridden longing relationship drama is on display here, including copious amounts of scenery porn, sad piano music, dramatic running scenes, and even love murdering trains. I suppose this also means that anyone who likes his other works will probably enjoy this one as well for the exact reason that it isn't very different. For everyone else however, Kimi no Na Wa. is painfully predictable and lacking.

My favorite part about Kimi no Na wa. is the body swapping concept which creates some fun and humorous situations. The story is at its best during the scenes that show how the main characters handle situations while having their bodies swapped which leads to some awkward, funny, and genuinely charming moments. Unfortunately we don't get much of this after the beginning of the movie and what is the best part of the story goes underutilized in favor of Shinkai’s typical routine.

As much as l like the whole body swapping concept I feel it is poorly explained as are the mystical elements of the story. It literally comes down to some kind of magical spit wine, shooting stars, time traveling yarn, and/or some family bloodline thing, all of which are equally obtuse. Generally I hate time travel in any story, it just makes things needlessly convoluted and silly. Kimi no Na wa. is no different but I guess it’s not as ridiculous as the Terminator series. Overall I find that simpler explanations (or any at all) for the mystical elements would have benefited the story.

Pacing is also an issue in Kimi no Na wa.. Though it is less noticeable here than it is in other Shinkai works it is still apparent especially towards the end of the movie. There is a dramatic running sequence which feels like an eternity followed by an awkward time skip and more running before finally reaching the credits. A bit of streamlining and polish could have greatly improved the entire ending.

One positive difference in Kimi no Na wa. is that the main characters are a lot more interesting compared to Shinkai’s other works with the small but meaningful glimpses we are given into their lives. That said there are some weird decisions that didn't make a whole lot of sense to me. The female protagonist, Mitsuha, has an issue with her father and being bullied and both are resolved in an unsatisfying manner. The bullying seems to be taken care of by the male protagonist, Taki, kicking over a desk while in her body thus scaring the bullies off? I suppose this isn't too big of a deal since the bullying was not a huge part of her story but that just makes the decision to even introduce it to begin with an odd one. The issue with the dad is another thing entirely though, as this is built up throughout the story only to be solved by Mitsuha being more affirmative in a confrontation towards the end of the movie that takes place almost entirely off screen which is as disappointing as it sounds.

The side characters seemed like they could be interesting but we don’t get much of them. Taki’s boss Miki gets some screen time but this is mostly just to build the romance with him and Mitsuha more than anything. Even the date scene ends kind of abruptly with Miki saying that he seems more interested in somebody else and just leaving. This however is enough for her to accompany him and his other friend on some journey to find a dead girl.

It goes without saying that every Shinkai work is visually spectacular and Kimi no Na wa. is no different. Though I can't say I find the scenery porn as appealing as his other works it's just as impressive as the rest. Music is mostly soft atmospheric pieces and though nothing really stands out it works fine. All in all everything is very pretty and I can't complain.

Unfortunately Kimi no Na wa. is just an average film in a long line of average films with Shinkai’s name attached. There’s nothing new or special, other than Shinkai's foot fetish being traded in for a spit drinking fetish. He still is a one trick pony when it comes to storytelling which is a shame because Children Who Chase Lost Voices shows that he is capable of something that is at least a little bit different. Maybe one day Shinkai will surprise and impress me (probably not) but as of now he just lacks the tact and subtly of better directors. I guess he can always do commission work drawing feet if times get rough though.

There’s a current trend that favors dark and edgy stories such as Game of Thrones, The Walking Dead, and so on. Anime, being no different, saw the much anticipated release of Attack on Titan which is based on the manga of the same name. Given the astronomical amount of hype behind the series it certainly had a lot to live up to. That said, the hype was understandable as Attack on Titan seemed to have everything going for it, being produced by Production I.G., having top notch production values, and a promising premise.

Attack on Titan follows the story of Eren and the Survey Corps ... as they fight for survival in a world where monstrous beings known as titans terrorize humanity.

I was very intrigued by the premise of Attack on Titan. It’s definitely something that stands out and is at least somewhat unique in a sea of all too similar anime. That’s unfortunately where my praise ends for the series. Unfortunately the execution does not live up to the premise and it's not long before the show turns into glorified torture porn.

The majority of the characters are bland and pretty cookie cutter. This is a huge problem in a series where death and survival are the main aspects, and a character’s death has no impact unless the viewer is attached to them. Without spoiling too much there are one or more important characters that are introduced and die within the span of a single episode. The scenes are supposed to be impactful, yet these characters are barely shown in the one episode they are in creating little emotional payoff.

Eren has one emotion- anger, and only one way of expressing himself- yelling. Combined with his naive and arrogant attitude and inability to back much of it up, Eren can be a very annoying character. He never really learns from his mistakes nor do other characters react appropriately to it to any meaningful degree. Something that also shatters the illusion of suspense in the series is Eren's ability to shounen his way out of death avarious other situations because writing is hard to do.

Mikasa is Eren’s sister and plays the part of the cool heroine of few words. She succeeds at everything she does because she has a nice ass and is cute despite her manly abs. One could argue her weird and unhealthy obsession with her brother Eren is a flaw, but like most things out of Japan I just assume it's the creators fetish. I guess it's okay though since she does look good in those tight pants.

The rest of the main cast consists of various other trainees and the Survey Corps. They aren’t really memorable and I couldn’t name more than a handful of them even if my life depended on it. There’s Armin, he’s not so good at fighting but he’s smart or so I'm told. There’s Levi, he’s kind of like Eren's mentor and a male version of Mikasa except for the part about wanting to bang Eren. Well, unless the shipping community has anything to say about it.

There are a few characters that I felt were somewhat more interesting. Sasha probably has the best characterization out of all the characters, or maybe I just like her potatoes. There is also Hange who has an obsession with studying the titans who also adds much needed personality to series. I think they provide the right amount of levity for the series. The other humor in the show doesn't work as well. It's a bit silly and contrived and interferes with the otherwise grim atmosphere and just makes things feel tonally inconsistent. Most stories do benefit from some type of levity and contrast, but it should be appropriate to tone and not take the viewer out of the story. A good example would be Paranoia Agent, there is an episode dedicated to three people trying to commit suicide that is quite humorous but stays in tune with the show's dark tone while also making for interesting social commentary on Japan's high suicide rate in real life, playing into the overarching themes of the series. It is natural and fits the show with its dry humor, in comparison Attack on Titan literally pulls you out of an serious scene for a cheap laugh, like Armin and Reiner gawking at a pretty blonde girl while they are running for their lives.

There are some other problems, such as pacing issues where the series just grinds to a screeching halt and drags on for a fair bit. A lot of other parts of the story dip into shounen levels of silliness and predictability. I’m still not entirely sure how the transformation aspect of the show works either, besides something about biting your thumb while you have some kind of goal in mind or something very ill thought out. I suppose these are things that aren’t meant to be looked into too deeply. The dialogue is also bad with the characters having to explain every little thing they do or have an internal monologue every five seconds for exposition's sake.

The production values of this show are good. The art and animation are nice and fluid, with the art style itself being very distinctive. The characters have an unusually thick border that outlines that's kind of unique. Character design is pretty good for what the show is trying to do, being more grounded and what not. The technology is pretty neat looking as well, from the 3D maneuver gear to the box cutter swords. The music doesn't thrill me as much as most but has some noteworthy pieces. It’s all fittingly high energy and I don’t have a problem with it.

By now it’s no secret that both the anime and manga versions of Attack on Titan are sweeping successes. Nearly everyone remotely interested in media has watched or has heard of it, including people that weren’t particularly big on anime to begin with. While its success with the mainstream market is commendable I can’t help but feel disappointed with the actual content. I can see Attack on Titan riding the hype wave with the support of the casual market for as long as it can. It doesn’t help that the creator is prostituting the series with several spinoffs, a live action movie, and even going as far as to change the original ending to pander to fans. It’s a shame really, I had high hopes for Attack on Titan but a few big missteps crushed those. Regrettably Attack on Titan will be a story of what could have been instead of what was.

Aria has garnered one of the most interesting reputations I have seen. Put on such an impossibly high pedestal yet still as polarizing as any other slice of life series if not more so makes it an oddity that one can't help but be curious about. And, if nothing else, Aria is a very unique challenge and experience for just about anyone.

Aria is about a group of girls who want to become the best professional boat rowers possible. There is a lot of food and tea in between.

Aria, for better or worse, doesn't change much throughout the course of the series. For ... me this caused an already episodic and formulaic series to wear thin even faster. Most of the episodes end with a message about appreciating the beauty of life, or something similar, accompanied by scenery porn and calming music. While this is admittedly quite comfy, it would work infinitely better if the series didn't run fifty-two episodes and one OVA because there's is only so many times you can impress me with an all too similar life lesson and scenery porn, Aria.

It goes without saying slice of life series usually don't have much in the way of story in their attempt to be as feel good as possible. While not unexpected Aria sacrifices more than most since it actually does have clear overarching story with the three main characters trying to become Undines. Unfortunately this only gets sporadic focus throughout and ultimately isn't as rewarding as it should be. Instead we get a a lot of episodes focusing on the main characters doing something outside of that main goal and there is really no sense of progression.

Regardless of the meandering structure I did enjoy the main characters of Aria a good deal despite not knowing if I wanted to pat their heads or violently face fuck them. A wise man once told me multitasking is key. They all have good characterization as well as cute designs, which is all that they really needed to have for this type of story. Like many other things in Aria they can come off as overly sappy but I suppose that is part of the charm.

Aside from that there are a few minor issues I had with Aria. I didn't quite understand the character of Alicia who everybody in the series has a massive lady boner over. She is portrayed as ethereal and perfect which I suppose is setup for later episodes which show her face some of her faults, but these are less faults than they are sympathetic and endearing traits thus making the odd direction of her character pointless or at the very least not as effective as it could have been. The super natural elements in the series seem like they are abandoned just as quickly as they are picked up which I assume there is more to them in the manga but we are left with what we get in the show. Finally, the dialogue gave me diabetes. I know that just kind of comes with the territory of Aria but it really is over the top sometimes.

Despite all my misgivings with Aria I still find the series incredibly thoughtful and charming. The atmosphere is unmatched and with the soft colors of the art and serene music the series is just on another level when it comes to aesthetics. Though I probably will never appreciate Aria and the slice of life genre as much as most, I can't help but enjoy the simplistic beauty of its tranquil and contemplative moments. And really, what else does Aria aim to do if not that. Well, besides making your friends and family think you are a closeted gay.