Tag Archives: Japan

Ushio and Tora (Anime)

Title: Ushio and Tora
Episodes: 1-39 (complete, seasons 1 and 2)

Ushio is a normal student who discounts his priest father’s stories about the legendary Beast Spear (and monster it’s trapping) that their temple supposedly protects. At least, until he stumbles across the monster while cleaning out a storeroom. Ushio ends up releasing it to help him fight the myriad of tiny demons now assaulting himself and his friends. He calls the tiger-like demon Tora, and it’s a rocky relationship from the start—Tora’s cautious of the Beast Spear but determined to eat Ushio. And if he can’t eat Ushio, he’ll haunt him. Ushio, for his part, now has the Beast Spear, which grants him incredible power but is chipping away his humanity.

I remembered reading an enthusiastic recommendation for this when I was looking for something to binge-watch over New Year’s Eve, so I gave it a shot, and was instantly hooked. 39 episodes and less than a week later, it’s now one of my top anime series as well. I ordered the anime the first night, and I still have the manga to read, which promises quite a lot that couldn’t make it into the anime. Unfortunately the manga doesn’t have an official English release or I’d be collecting that too.

Ushio and Tora is a modern remake of a rather old series that ran from 1990-1996. This gives it a unique aesthetic (and sometimes, like with certain demons who look like a bunch of heavy metal band rejects, it can be unintentionally hysterical). The animation is generally good, though towards the end it suffers a bit more from still frames because the final battle is pretty epic in scope. I’m not overly fond of the first opening song, but the music during the show worked well.

What makes the show so fascinating to me is the characters. Ushio is almost the definition of average. He’s got very average looks (no special hair color or wild design that calls him out as the protagonist, at least before the Beast Spear). He might have some talent for sports (and getting into fights), but his passion is art, despite a rather low amount of artistic talent. But he’s got enormous emotional range, and most unusually for a guy, he’s not ashamed to cry. Which he does, often. He empathizes with people (and youkai), stands up for what’s right, defends the weak, and often puts himself in considerable danger if someone else is in need. And once the Beast Spear comes into his hand, he gains slitted eyes, claws, huge hair, and a massive power boost. (Also, the Beast Spear seems to have something against shirts. Ushio may start wearing layers but as soon as he picks up the spear the shirt is usually toast.)

Tora is his polar opposite. Strong, vicious, bestial, prideful, and most of all selfish, Tora despises the heroic impulses that drive Ushio. He’s quick to pick a fight with anyone that offends him. But he’s also very childlike in personality—the modern world fascinates him (his reaction to television, cars, and bus rides left me in stitches). And that childishness in the end makes him really easy for those who know what he’s like to manipulate him (Mayuko does it with kindness, and Ushio has a variety of ways to bait Tora into helping him out). Tora was my favorite part of the show, but he wouldn’t work nearly so well without Ushio drawing such a sharp contrast.

On the love interest side, Asako is the childhood friend who won’t admit to anyone she likes Ushio (he returns the sentiment). Mayuko, though, also has a crush on Ushio—and in a radical departure from modern storytelling trends, admits that because she loves both Ushio and her friend Asako, she’s willing to move on so they can be happy together. AND SHE DOES. And this does NOT take vast numbers of episodes of her internal agony, but comes up quickly and is stated as a matter of fact. Mayuko won my respect with that. I also like how both of them have their own ways to be strong, whether that’s Asako’s refusal to give into fear despite the hopelessness of her situation or Mayuko’s steady faith.

It’s also really neat to see how Ushio’s kindness changes the people around him, and how that has unexpected dividends. And how as long as he has people who support him, he can’t fail—but when he feels utterly alone, no amount of his own strength is enough.

Another area that struck me is how integrated everything is. Ushio and Tora end up getting filmed fighting a giant monster IN THE SECOND EPISODE. And he KEEPS making the news, along with the other youkai-caused disastrous events. He’s only a “secret” hero because his looks change so drastically using the spear that even his own friends have a hard time recognizing him. He’s not jumping into a hidden war, but a very public one. The real enemy threatens humans and youkai alike—and BOTH GROUPS are needed to stop it. Every time I thought the show was going to rag hard on something (like the scientist episodes) it turns around and points out that this, too, can have a purpose. Most of the things that started out looking extremely cliche turned out to have something more running through it.

And the show is gut-bustingly funny. Tora wins pretty much every scene he’s involved in. Whether it’s his wide-eyed enthusiasm about watching himself on the news or his rage at someone else wanting to eat the human he picked out for his own lunch, he’s going to throw himself into things wholeheartedly. His vicious streak also makes him great at trolling enemies.

Equally, the story has tons of pathos. Ushio gets his heart broken again and again by the various things he’s going through. And he’s dealing with a lot of people in emotional crises themselves. It’s not just a story that knows how to deliver great action and funny lines, but one that’s honest enough about pain and joy and all the rest to go deeper.

All in all, this is one of the rare few shows I’d highly recommend to pretty much anyone. It packs so much in that even 39 episodes feels far too short. If you’ve missed out on this one so far, definitely give it a try. It’s currently streaming at Crunchyroll.

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My Hero Academia (anime)

Title: My Hero Academia

Episodes: 14-38

Izuku Midoriya has inherited the superpowers of the mightiest hero of all—but can he live up to those lofty expectations during the annual UA Sports Festival? Then, when the festival is barely over, the students get some on-the-job training from pro heros. Then again, some internships turn out to be a little more than anyone bargained for. Finally, with the end of the semester comes exams! And UA’s exams consist of both a written and a practical.

This season covers several major arcs, as detailed above. I like the tail end of the Sports Festival arc, but I’m not as keen on the beginning. Doubly so when the anime tries to cover the fact that these chapters don’t QUITE make a full episode and slap in 4 minutes of recap at the front of the first several episodes. However, once the arc gets in full swing, the physical challenges of the actual event start to mingle with the more interesting emotional and psychological challenges various characters face.

The festival also highlights several of the characters around Izuku, most notably Todoroki and Bakugou. Todoroki and Izuku make an interesting contrast: the scions of the first and second ranked heros, both expected to carry on and surpass their forebearers, but urged onward for opposite reasons. Endeavor is consumed with defeating All Might and becoming the number one hero. And if he can’t do it, his son will. All Might may not even notice that rivalry—but as a teacher, he knows he’s falling short.

The internship arc introduces a villain who challenges the “hero society” and has his own lethal way of dealing with what he considers fake heros. And the exam arc is another place where some of the non-core cast members finally get a chance to step up.

Manga readers will appreciate how the anime does flesh out several short or offhand mentions into actual fights (or in Tsuyu’s case, almost a whole episode). The pacing does suffer most at the beginning, when the recaps feel like they take up a huge part of the episode, but as the series rolls on, it settles into a more comfortable groove.

Overall, if you liked the first season, there’s plenty more to like here. The story is beginning to show bits of the world beyond the school, the world these young heros will one day inherit, and it’s not all it’s cracked up to be (just look at Bakugou’s internship). I rate this show Recommended.

Sword of the Stranger (Movie)

Title: Sword of the Stranger

Content warning: There’s a ton of blood, but not really any gore. Also a few brief scenes of someone under torture.

Kotaro is a young boy on the run. With only his faithful canine companion, Tobimaru, he struggles to avoid the soldiers after him. Then a chance encounter with a nameless samurai offers him hope of returning to a place of safety.

I watched this streaming, and liked it so much I immediately ordered a copy. This isn’t a particularly deep movie, but it’s a lot of fun. Kotaro is stubborn and a bit high and mighty, but he’s also frightened of the soldiers and loves his dog very deeply. Tobimaru alternates between being cute and rising up to defend his master however the situation requires (the scene of him riding in a sling was just adorable). And the nameless man is an excellent swordsman who struggles with the memories of the war he left behind. The journey changes all of them.

On the enemy side, we have the native Japanese who are suspicious (but supportive, for now) of a group of Chinese who are building some grand project. Of particular note is a blond-haired, blue-eyed man the Chinese brought with them, who hungers to fight a worthy opponent. (The comments about him being a barbarian and a demon are perhaps not intended to be jokes, but I found them very funny. No assumption of blond-haired, blue-eyed innocence here.)

Also the hostage situation is one of my favorite parts of the film.  I love when these kinds of things go sideways since so many stories play it straight.

Because the Funimation stream doesn’t offer the Japanese, I can only comment on the English dub, which was very good. Aside from one secondary character whose introductory lines were a weird monotone, everyone had top-notch voice acting. I was especially impressed with Kotaro and the nameless samurai. Kids in anime can sometimes sound a bit weird, but Aiden Drummond really nailed Kotaro. And Michael Adamthwaite did a great job breathing life into No-Name. I also really liked that the dub kept the Chinese portions intact (Funimation’s stream, at least, shows subtitles on these parts). Since the Japanese don’t understand what the Chinese are muttering to themselves, it’s nice to have the foreign language to reinforce that.

Overall this is perhaps a bit too eager to throw around lots of blood splatters, but is otherwise a movie I plan to show my friends. I rate this 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.

Toukiden 2 (PS4/PC)

Monsters known as Oni are invading the real world from the Otherworld. Ten years ago in Yokohama, the Oni broke through—and threw you through a gate ten years in the future. Now you are tasked with defending the village of Mahoroba from the Oni as a Slayer.

There isn’t much to talk about plot-wise for this game. It proceeds mostly as you might expect (although I was pleasantly surprised by both Benizuki and Kuyo). I like that there is a story mode, though, which helps add some variety and meaning to otherwise randomly going out and killing monsters. The Professor was easily my favorite character, for her snarky attitude and rather dangerous inventions.

Toukiden 2 boasts a world map in addition to missions that can be taken through the base town. I would’ve liked the world map a LOT better if you could warp to any of the portal stones (you can use any stone to go back to HQ, but you can only transfer from HQ to your bases, which makes getting to certain points on the map a trek every time). Also, I was frustrated by the fact that you get a grappling claw that lets you vault over cliffs…. but you still often need to walk around relatively minor barriers, which made some maps (Age of Grace in particular) more like mazes. I am also not fond of the “miasma exposure limit” still being a thing even after you purify an area. It feels like a way to artificially limit how much you can explore without going back to some kind of base.

That said, it was still nice to have actual environments to explore. The game provides both shiny object pickups, various crests, and wooden markers with some backstory as an incentive to poke around every corner.

Your teammates are good at dispatching the Oni, so picking companions for me usually involved picking whomever I needed to max out relationships with. You don’t get any control over their skills, and you have limited ability to direct them in battle (which I never used because I forgot the button combination).

I didn’t play too much with all the weapon types, but there is a good amount of variety. I mostly stuck with knives because I like fast-hitting weapons, although a major downside is that they offer no defensive capabilities. Tutorials are available for every weapon type, and every skill type, and these can be repeated as desired, so it’s easy to sample the various weapons and choose a favorite.

Skills are handled through Mitama, which are spirits that choose to help you. They range from historical figures to literary figures to a few gods and goddesses. Each one gets a nice portrait and a little voice clip, and has a number of skills that can be learned and equipped. These can be earned through the story, sidequests, or by slaying Oni. It can be a big job to collect them all, but just going through the story and doing a little extra will get plenty for a more casual run.

I didn’t care for most of the Oni designs, sadly, with Drakwing (a more traditional western dragon) being a major exception. They do offer a good challenge, though, and fighting them feels more interesting because of a tendency to transform at about half health, which can completely change attack patterns. If KO’d, you get a limited amount of time to be revived, and if KO’d again, your revival time picks up where the last time left off, so whether or not you can even come back depends on how quickly your teammates can get to you, even the first time. This likely isn’t as much a problem for more skilled players but I die enough to find it annoying, especially when certain fights include multiple Oni and it’s easy to get slammed by the one you weren’t attacking.

On the plus side, the auto save functionality, plus the ability to manually save anywhere except inside a fight, means you probably won’t lose too much progress if wiped out, even if you were exploring the Otherworld at the time.

Overall, I had fun with this, although God Eater is definitely my hunter game of choice due to several different mechanics (ranged and defensive included on all weapons, a less arbitrary revival system, the ability to earn unlimited tickets for material crafting, more colorful monsters which are more visually interesting, better story, epic music). That said, I’m still poking around in postgame trying to collect more Mitama, craft a better weapon, finish collecting crests, and so on. I have no idea what my hour count was because the save files only indicate the last time you saved, not the total hour count, and it’s been pretty fun for the most part. I rate this game Recommended.

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.