Tag Archives: anime

Overlord (Anime)

Title: Overlord

Episodes: 1-13

Momonga has been a long-time player of the DMMO-RPG Yggdrasil. But the servers are shutting down, his guild has more or less dissolved, and he’s left to wait for the end alone. But the shutdown doesn’t work the way he expected: he’s now living in his undead avatar, with the NPCs turned sentient, and an actual world that only somewhat works like the game he used to know. In Yggdrasil, Momonga had max level, great items, and a solid team at his back. Can he continue as the Overlord of his guild in this new world?

I’m not a big fan of the “trapped in a game” scenarios (it’s just a halfhearted attempt at “transported to another world” to my mind), but this is the second show I’ve gotten into solely because I liked the opening song. “Clattanoia” is a lot of fun. And I was surprised that the story was actually a lot more to my interests than I had expected. Momonga isn’t some upstart with something to prove, or a man desperate to return to his former life. If anything, he just wants his old guildmates to join him, and he works hard to protect the place, NPCs, and memories they left with him. It’s really fitting that he’s an undead, as I think that’s another symbol that he can’t move on (it’s also hysterical that he completely breaks the convention of being handsome, and has to hide his real face in public lest people flee in terror).

Part of the fun is the intersection between the gaming world and the “real” world. There’s a good dose of gaming humor thrown in, like a guild member named Touch Me (who has a much better reputation than his name suggests), the names and types of some of the spells cast, or how HP and MP apparently are still a thing, at least for the formerly-Yggdrasil entities, and so on. And Momonga isn’t coming at this as a newbie, either—as the title implies, he’s starting from the top. It’s kind of a fantasy-flavored One Punch Man, although Momonga actually does have one opponent that can put up a decent fight. And if other players came along, which seems very likely given the end, then he’s likely going to be dealing with them at some point in the future.

I laughed pretty hard at most of his earliest encounters with outside people because he’s repeatedly toning himself down and still overwhelming everyone (this is almost funnier on a re-watch, when terms like fifth-tier magic have enough context to be meaningful . . . Momonga complains people die to “only” a fifth-tier spell when the maximum level humans can cast is third-tier). Or Momonga being embarrassed by things that others find amazing, like the Wise King of the Forest. And the scene where we finally get to meet the NPC Momonga himself created . . . (I do wonder what kind of powers it has, since most of the NPCs seem to be full of their own flavors of nasty surprises…. but that seems to have been a guild trend).

Yet Momonga’s tremendous power is balanced by his (completely reasonable) caution. I think the last fight actually did a great job of demonstrating why: even though he’s strong, he’s still got the class limitations he would’ve had in the game, but he no longer has others of different classes but similar level to watch his back. So running into another player or even just a high-level item in the hands of someone hostile could put him in danger (I do wonder what will happen when his cash shop items run out, since there’s no way he’s going to be able to restock some of the tricks he needed to use pretty liberally to win that encounter).

The art is pretty good but not amazing, and the CG is pretty noticeable. I didn’t think it detracted much from the show, though, as most of the CG is reserved for the undead, so it wasn’t as distracting as it would have been on characters. I’m also not fond of some of the shenanigans that went on with Albedo (Momonga changes her programming in the last minutes of the game so she’s deeply in love with him), but Momonga taking on more and more of his undead persona quickly kills the lust on his side, so after the first episode, he doesn’t do much to encourage her. It’s also fascinating to watch the slow shift in his personality—from someone who thinks mostly like a human, to someone who can casually kill people just for being in the way (and then take their corpses back to practice necromancy upon).

Overall I had a lot more fun with this than I expected. I watched both the sub and the dub and both are solid performances. I honestly don’t even have a favorite—Momonga’s voice in particular is great in both (he’s got a trick where his “official” voice is a lot deeper than his “normal” thoughts). I do hope a second season shows up soon as there is a lot that could be done yet with the characters and the world. I rate this show Recommended.

Twelve Kingdoms (Anime)

Title: Twelve Kingdoms

Episodes: 1-45
Rewatch

Youko has a quiet, ordinary life–except for her monster-filled nightmares. But when a strange man shows up at her school and whisks her and two of her friends to another world, her life changes forever. She didn’t want this. She’s not ready for this. Going home is not an option. If she’s going to survive, she’ll have to confront murderous monsters and a jealous king, and in the process discover her destiny . . .

It’s hard to put into words everything about this that makes it my favorite series. The first time I saw it was like the first time I read Dark Lord of Derkholm by Diana Wynne Jones—the kind of story that just makes your soul resonate. This had everything I liked in stories: fantastic creatures (bonus points for being intelligent and able to talk!), magic, swords, shapeshifters, getting taken to another world . . . and also the core of deep character building, where Youko is forced to confront herself and rise above, to become a queen in actuality and not just role. Also a huge plus for me personally was the lack of romance. With the exception of Youko’s initial crush on Asano (which he doesn’t return), the story ignores romance in favor of action and intrigue.

Youko wasn’t my favorite character initially: that was always Sugimoto, the fantasy lover, whose utter delight at finding herself in a world like her books contrasts sharply with Youko’s tendency to cry over every setback. But Youko grows up, facing herself as well as her circumstances, and Sugimoto is again her dark mirror as she sinks ever deeper into jealousy and frustration. And the story doesn’t give Youko many breaks. I was shocked at the encounter with Taki the first time I saw this, and Taki is merely one of many who may help or hinder in ways not initially obvious.

But when Youko does confront herself, and later the embedded corruption in her country, she doesn’t do it halfway. That meek little people-pleaser hid a backbone of steel. She’s constantly confronted with her own weaknesses, her own stupidity, her own limitations, but that isn’t going to stop her from pouring everything she has into the decisions she eventually makes. I love her second story arc (episodes 23-39) because they tackle a fascinating question I hardly ever see in secondary-world fantasy: having been given the throne, how does an outsider actually rule well? Youko isn’t just ignorant about government, she’s ignorant about geography, history, climate, inhabitants, everything. And that ignorance, through no fault of her own, costs her dearly.

As much as I enjoy Youko, she’s not the only excellent character. King En and Enki are two that never fail to amuse. I love Enki’s accusation that En enjoys playing the bad guy way too much–right after decking his own king in front of other people. I love that En’s introduction is “Kill monsters first, ask questions later.” He and Enki both are hands-on, stubborn, and full of surprises. En is so unconventional. It’s one thing to go down to hang out with the lay people in disguise—it’s another when your ministers are constantly needing to bust you out of jail for getting into bar brawls. En seems to exist to drive his ministers insane. (See: nicknames. En is a giant troll.) But behind that teasing, En is working out plans on a level no one expects. He and Youko are very similar in a lot of ways, but there’s also a profound gap between them. En is a leader born and raised, and he gets how people work.

And I love Taiki. One of the biggest frustrations I have is that the anime doesn’t finish adapting out Demon Child (Mashou no Ko), which gives at least a little closure to the horrible situation Taiki finds himself in. The intersection of past and present in the anime does lend an element of horror that isn’t really there in the books—because it’s obvious from the outset that something went drastically wrong if Taiki is now back in Japan with no memories of his time in the Twelve Kingdoms. (The blood on his face does provide a clue that it’s due to his horn being damaged, but the books are clearer on that point.) And I like the anime’s decision to use Sugimoto to pry into his history, because she’s a foil for him. Her venture into the Twelve Kingdoms taught her she couldn’t grab for a world that wasn’t hers, and she assumes Takasato is the same, although the situation isn’t supporting her assumptions. Taiki is also unusual in being the only kirin to really struggle with being a kirin. He’s too used to being human to really get most of what is supposed to be natural to him. And I like that Taiki unwittingly showcases Keiki as a gigantic stick-in-the-mud. Even other kirin think Keiki is too much, heh. (If you’re interested in reading Demon Child to see some additional scenes, the translation can be found here: https://tu-shu-guan.blogspot.com/2006/08/demon-child-prefacing-poem.html)

I’m less fond of Suzu and Shoukei, but I do like their character arcs. Both of them are extremely self-centered, but it plays out differently. Suzu is unconsiously addicted to being miserable, whereas Shoukei has a massive entitlement complex. Youko, compared to them, is starting from a much better place, but she’s still clawing herself out of the pit of pleasing others rather than forging her own way ahead. All three of them suffer from ignorance (though in Youko’s case, it’s at least excusable because she just hasn’t had time to get caught up on how this world, much less her kingdom, actually works). I love the challenge to Suzu about the different reasons why people cry–and that she’s stuck in a child’s mindset despite having been alive over 100 years. (This is a show very much not afraid to outright TELL its characters “Grow up.”)

And that’s just the characters. I also really like how the show approaches destiny and the will of the heavens. There is absolutely an element of choice for everyone involved—but those who challenge heaven find themselves in the way of heaven’s justice. And it raises some fascinating questions about Keiki’s first queen, and who she might have been if she hadn’t crumbled, and other questions along those lines. Destiny can be denied, thwarted, foiled at the individual level. But the heavens aren’t, long-term. Or take Youko’s struggle to figure out what makes a ruler a good one. Every time I watch this, I see some new facet that leads me to wonder about something else.

I get that this series may not be for everyone, but for myself it’s basically perfect. I only wish we had more. Even with Demon Child’s happier ending, Taiki’s situation remains grim (and what DID happen in Tai?). Whether the stories would be about Youko or someone else, I’m always happy to visit this world. I rate this series Highly Recommended.

Attack on Titan (Anime)

Title: Attack on Titan

Episodes: 1-25

Content warning: People die in somewhat graphic ways pretty much every episode. Eaten, stepped on, ripped apart, etc. It doesn’t go much for gore, though, just blood splatters.

Humanity has nearly gone extinct under the assault of the grotesque Titans. These giant humanoids only attack humans, so to defend against them humanity built three walls each 50 meters tall. But the area those walls enclose is the only safe space left for humanity. Eren is a young man frustrated by the necessity of living in such a small part of the world, and after the wall near his home is breached, he vows to slaughter all the Titans and take back the world for humanity.

I was late to this show for several reasons, most of which still hold true now that I’ve seen it. I don’t like the Titans themselves (ugly and naked giant humans, bleagh). And Eren isn’t as compelling as a lot of other leads, because he spends most of his time angry and juvenile, and even 25 episodes doesn’t grow him up much (actually, it doesn’t grow him up at all). It’s pretty hard to care about any of the characters, because the cast is massive and the story spends most of its time killing most of them off.

But, they have zipline belts (aka Maneuver Gear in the Crunchyroll subs and ODM in the official disks). And I am shallow enough to enjoy the show solely based on watching people zip around pulling crazy stunts. And the music can be really good too, which makes those action scenes stand out even more.

Animation-wise it can be a mixed bag. There are a ton of still frames used to compensate for good-looking action scenes. This was really noticeable in the first few episodes. I also wasn’t that fond of the really thick outlines used on characters. However, I did like the towns, houses, and backgrounds.

The characters are by and large forgettable, because most of them die too fast to have any kind of arc. It was interesting to see most people’s responses to war are basically to break down in fear, and struggle to overcome their reluctance to actually go against an enemy very likely to kill them. And I liked Armin, who unlike Eren can’t just use the magical power of “I want this really badly” to get himself out of trouble. Misaka is too dull, as her role appears to be “silently menace anything that harms Eren”, although I do like watching her fight. (Although I will admit the flashback to how she met Eren had me laughing hysterically. He was ALREADY screwed up as a nine-year-old.)

The plot is a little better, but where the first 13 eps are throwing out twists and revelations, the second half of the season feels more like aftermath. The female Titan there is a single obstacle they have to survive, and the end of the season doesn’t provide a lot of new information or a good sense of closure. It’s also really frustrating to see Armin’s big encouragement to Eren is “the bigger monster wins”—those who can abandon their humanity the most will triumph. I think that misses the point in a big way, although at least Armin seems aware he might be inviting in more trouble than the Titans themselves if this philosophy actually wins.

Overall, I don’t regret watching this (zipline belts!!) because I did enjoy the action sequences (and that first opening song in particular is worth listening to; the first ending is also good). That said, since the zipline belts and the music are the only two things I really LIKED, I’m not going to bother with the manga. I will probably watch the currently-airing second season after it’s over, since this series has a penchant for really long multi-part arcs. Recommended if the slick action/horror combination appeals to you, otherwise Neutral.

Noragami Aragoto (Anime)

Title: Noragami Aragoto

Episodes 1-13 (13-25 overall; it’s season 2 of Noragami)

Yato’s trouble as a stray god of calamity are only getting worse. Bishamon, the war goddess with a huge grudge against him, has finally pushed him too far. And beyond that, Yato’s shadowed past is coming back to haunt him . . .

This season focuses on two major arcs, which was great for me since I prefer longer stories. I particularly liked what happens with Yukine this season.

Last season, Yato went far above and beyond to give Yukine every chance he could, and Yukine is determined to repay the favor. He’s too new to really know what’s expected of him, so he’s determined to learn how to fulfill his role to the best of his ability (and his abilities are considerable). The methods he chooses surprise those around him, and although he succeeds in many things, it’s still an open-ended question whether or not he can grant Yato’s dearest wish. That part will likely hinge on Yato himself.

It’s also interesting to see Yukine’s building rivalry with Nora, the other major Regalia in Yato’s life, but one Yato doesn’t seem to want—perhaps because she has multiple names from multiple masters. Yukine wants to be dependable enough that Yato can abandon Nora for good. Nora, however, has her own plans for Yato.

Some parts of these arcs felt a bit rehashed, as Hiyori loses her memories multiple times, although one of those times was a good reminder to her that she’s not specially immune from the consequences of forgetfulness. But Hiyori in general is still a great character. She knows she’s important to Yato, but he can still be really annoying to her since he has no concept of how to relate to people as friends. Still, when she does attempt to do something to make him happy, she never expects the kind of reaction she gets. She’s HUMAN (mostly), and although that puts her under basically everyone who has powers, she’s got her own strengths that none of them can duplicate.

And I liked the direction Yato took here, where his troubles are more evident and his hyper personality comes off more like a desperate wish for how he wants to be. He’s hardly mentioned his own history. Yukine and Hiyori are stuck asking the gods who knew him about a lot of the details, but even they only have fragments of the full story. Yato still has his really aggravating moments, but overall I’ve come to appreciate him more as a character, and I hope he and Yukine will be able to work out a new direction for his life.

Overall I think this is a stronger season than the first, with Yukine’s big moment and subsequent development my favorite parts. But I also liked the deepening relational dynamics, the high level of action, and the rising stakes. There’s a bit at the very end that hints at further complications to come, so I hope a third season will be announced at some point. Until then, I’ll be reading the manga to figure out what happens next. I rate this series Recommended.

Noragami (Anime)

Title: Noragami

Episodes 1-12

Yato is a minor deity so desperate for recognition he’ll do any odd jobs that come his way. But while chasing a stray cat he encounters a girl whose attempt to save him causes her to leave her body. Add to that his attempts to gain a new weapon have landed him with a middle-school boy with a troubled personality . . .

I actually found this show because I stumbled across the second opening on Youtube. When I first looked Noragami up the summary made me discount it as some slice-of-life with a bit of supernatural thrown in, but I kept wondering why they’d pick such a rock-heavy song for an opening if the show was really like that. (For the curious, the song is Hey Kids! by The Oral Cigarettes, and has quickly become one of my favorites. Although it is the opening to the SECOND half, so it’s not actually on these eps at all.)

Fortunately, even the first few minutes of the first episode was enough to disabuse me of that notion. We begin with Yato hunting down a Phantom, a monster invisible to ordinary people, in the middle of the city in broad daylight—although after he vanquishes it, his life starts to go downhill, as much of his power as a god is tied up in the Regalia he uses as his weapon, and his weapon has decided she’s had enough and quits.

I never really liked Yato that much. Most of the drama in this first season results from his insensitivity and careless treatment of Yukine, and it’s hard not to get frustrated when some of the biggest moments could have been avoided or reduced dramatically if they’d just sat down and talked a few things out. But Hiyori helps keep things balanced, as she’s sensible in ways Yato isn’t. Although both Hiyori and Yukine don’t know anything about the supernatural world, they have different ties to it, and different roles.

The humor was also a bit hit or miss for me. I did enjoy some of the gags, but I’m not fond of Yato’s over the top hysterics.

That said, the show as a whole was something I liked. It’s fast-paced, and the supernatural aspect allows for new and strange things to show up on a regular basis. Yato when he’s serious (usually when he’s fighting) is a lot of fun. Hiyori is a great counterbalance for him, as she’s sweet and personable (when she’s not trying to beat up monsters or knock some sense into him). And Yukine somehow manages to be an innocent deliquent.

Overall, this has a good balance of action and character, so if it sounds appealing give it an episode or three to see if it catches your interest. I rate this show Recommended.

Further Thoughts – Yona of the Dawn

I wanted to jot down a few further thoughts on Yona, since I had a chance to review the dub, and I wanted to mention a few things in a bit more depth about the manga.

The dub is serviceable, but most of the characters didn’t feel great in their roles. Gija is a major exception, as his voice actor absolutely nails his bug-related freakouts, but others like Jaeha don’t have any transition between their comedy portions and their regular voices, which made Jaeha sound more monotone than his Japanese voice. Or there are odd moments like Yun using his obviously male voice when talking to Yona during a period when he’s disguising himself as a girl—and none of the other girls figure this out until so much later it feels really stupid. In addition his attempts to sound feminine are still gravelly.

As an added annoyance, this disk is the first anime I’ve watched that didn’t allow me to put subtitles on when I was watching the English, which is how I prefer to view dubs. That allows me to more easily evaluate where the dub changed the script, or catch lines that might be muttered or in the background.

Jeno/Zeno is still my favorite. (Looks like he’s officially Jeno, but it sounds like Zeno in the Japanese, and we already have Jaeha, so I prefer Zeno.) His little “we can totally storm the castle” speech in the last ep is the first big hint that he’s more than he appears—why the massive amount of confidence when he’s previously described himself as basically powerless?

And when the manga finally shows his ability in chapters 99-100, Zeno demonstrates he could probably storm the entire castle by himself. And win.

**MANGA SPOILERS**

I love how Zeno’s backstory is basically: the other three dragons never let him fight because he was weak, and then when they got old and retired, he went out and did everything by himself. He’s unkillable but not invincible, as Shin-Ah demonstrates by tying him up. So despite having massive powers, he doesn’t unbalance the plot because his personality isn’t suited for fighting, and because in order to trigger those powers he’s first got to take deadly levels of injury.

I adore his initial battle, as his ineffectual resistance slowly transforms into complete invincibility. And all his friends are shell-shocked from the moment he first gets stabbed through the heart . . . and he’ll take way more damage than that before he’s done. One of my favorite frames is the panel after he’s been stabbed multiple times, dismembered, and beheaded, and is standing there with ruined clothes but a whole body and taunting the enemy: “What will you do? Unlike you, I have no limits. I can go on fighting for hundreds of years. Come at me. I have all the time in the world.”

And then they find out that he’s not only unkillable, but after a certain point he can’t even take injuries anymore, and they’re now fighting a dragon just as ferocious as Gija and Jaeha combined.

It really is a shame it’s going to take so long to get volumes 17-18 in English.

I like how the dragons are becoming more and more a group of friends. Zeno admits the original four never really meshed that well, as the thread of competitiveness disrupted the sense of being a team. But the current group demonstrates again and again their willingness to support each other, which is perhaps a reflection of Yona being weak where King Hiryuu was strong. Yona can’t pull her own weight in fights the way he did. And Zeno isn’t volunteering to hurt himself as long as the other three canĀ  handle things without his help, but if the situation calls for it, he’ll cheerfully offer to undergo hideous pain because he knows he can take it.

I also like how the manga has generally moved towards longer plot arcs. Su-won turns his attention to the surrounding kingdoms, and Yona for one reason or another is in the middle of things, which means plenty of time to explore the other nations. It raises some interesting questions about Su-won’s ultimate goal, as his short-term aspirations are building up Kouka and reducing his neighbors so they won’t face external threats. He doesn’t seem like he wants to invade, so I do wonder what he’ll get up to once the last neighbor has either submitted or lost a war with him.

At any rate, it’s a shame that the anime doesn’t look likely to go any farther. The plot continues to improve, the characters have a lot of interesting revelations, and the surprises keep on coming.

Yona of the Dawn (anime)

Yona of the Dawn

Episodes 1-24

Yona is a pampered princess with a peace-loving father. She’s in love with her cousin, Su-won—but when Su-won kills her father and usurps the throne, Yona becomes a fugitive, with only a single guard, Hak, to protect her. In order to survive, she’ll need allies. So begins her quest to gather the four legendary dragon warriors.

I was hoping for something similar to the excellent 12 Kingdoms, and in that regard was disappointed. Yona is very solidly a shoujo with a dash of reverse harem, and the show focuses a lot on the string of guys she accumulates and the various semi-romantic hijinks that occur between them. That said, there’s a fair amount of action as well, and even if I didn’t like Yona, the guys tended to be a lot more interesting.

Hak, for all that he isn’t a dragon (officially, at least) can rampage just as well as any of them. He’s also in love with Yona, although his position as her servant won’t allow him to admit it (and Yona is extremely clueless). The dragons themselves are a fun lot. Each of the dragon warriors has a specific power, and generally very different relationships with that power depending on how their villages viewed it. The one major exception in the anime is the Yellow Dragon, mostly because he shows up in just the last episode, but presumably the manga digs into his character more. I like Jaeha’s power the best, and his stubborn insistence not to let dragon-blood-destiny run his life (although he ends up coming anyway, of course). Rounding out the group is Yun, whose competence with everything not fighting makes him a vital support.

(I did read the manga and once we FINALLY get Jeno/Zeno’s backstory and get to see his powers, he easily became my favorite. I like his casual, happy attitude, rumpled appearance, the moments of surprising insight or wisdom that shows he’s not an idiot, the spirit of self-sacrifice that says, “This may be all I can do, but I will do it.” He’s really not a fighter the way the other three are, and his approach to battles horrifies everyone who watches him because of how much he has to suffer to use his abilities, but he never complains, and even volunteers his own suffering to save them pain. And his powers are SO MUCH FUN. Even if, far more than the other three, his could honestly be called a curse.)

Yona, though, is almost unbearable in the beginning. I’m glad the anime beginning included a flash forward, because I don’t think I would’ve stuck around long enough to get there otherwise. Eventually she realizes the depths of her helplessness and determines to get better, but it’s a long journey to even marginal usefulness. She’s almost more of a mascot, whose job is to keep everyone else happy and willing to fight. This is starting to turn around by the end of the anime, and I can only hope the manga grows her up more.

The plot can also suffer from some bizarre moments, particularly early on. Like the snakes that show up out of nowhere, at night, and are chasing Yona and Hak through a forest. Because . . . cold blooded creatures with no legs can run as fast as two humans? Yeah. Although I ended up liking the show, especially once I read the manga and got to see some of the later ways things play out, the beginning is just hard for me to watch.

Overall whether or not you like this is going to depend on how much you like the shoujo aspects of it. It does have a good amount of action, humor, and depth of character, so there is enough to enjoy if the presence of some of the tropes doesn’t ruin it. One of the more surprising aspects, to me, is that the usurper Su-won is actually a remarkably good king—and so much better than Yona’s father that it’s arguable if it would even be a good thing for Yona and the dragons to go against him. Certainly Yona’s not ready to sit on a throne. But neither the anime nor the manga treats that question much. It’s more about Yona being able to survive in a desperate and dangerous world. I rate this series Recommended.