http://www.mangafox.com/manga/hanzasky/
Even the finale's attempt to visually impress the audience falls short: Nanoha and her friends' weaponry gets fancier with each transformation, but the digitally-generated effects are woefully cheap, and the artifact/creature designs just get stupid by about Episode 12 or so. But maybe the flash and fanfare of mid-air magical combat (yes, every magic-wielding person in this series can fly; it just looks cool) isn't so bad compared to what happens on the ground: blocky front-view or side-view scenery, uninspired backgrounds, and animation so cheap that there is one scene where a TV is flashing static images every two seconds. But lazy directing and cheap animation have nothing to do with the most intrinsic visual problem: the dull, bug-eyed character designs that differ only in terms of hairstyle and costume changes. And even then, everyone has that weird tuft of hair coming out the side of their heads! Is this some kind of bizarre universe where everyone wakes up with bed head in the mornings?
What a relief, then, that the music isn't quite as cheap as the visuals: sure, they still use electronic instrumentation because it's a pain to bring in real musicians, but the pretend-orchestra that pounds its way through the soundtrack is surprisingly effective. Battle scenes resound with Wagnerian pomp, while quiet moments and flashbacks are dotted with poignancy—especially in Fate's dream about her perfect alternate world. Too bad the theme songs are so dull in comparison (and this is why Nana Mizuki and Yukari Tamura have never quite broken the barrier between singing seiyuu and actual pop star).
Wednesday, April 20, 2011
Anime TV Koe de Oshigoto! Chapter 31
http://www.mangafox.com/manga/koe_de_oshigoto/
If this volatile stew of genre elements seems strange, though, it does become more palatable as the heart of the storyline is revealed. The knights' true motives come into the open, the Book of Darkness's background is made clear, and the true villain of the story—believe it or not—evokes a deeper sympathy than any of the heroes. (Or maybe that's just another cliché taking effect.) Where it would have been so easy to go with the cackling nutcase bent on world domination, this series actually tries to paint the good-versus-evil conflict in deep shades of gray, resulting in a far more bittersweet emotional effect than one might expect from the genre.
But a magic-infused action-adventure must, in the end, deliver action and adventure, and that's where things fall back into the realm of the predictable. The middle episodes feature a lot of sloppy stop-and-start battles, with the knights charging forward and then rearing back as they suddenly become torn between their thirst for destruction and the love of their master. And when it comes down to fighting the final battle—a longwinded four-episode affair (in a 13-episode series!)—everyone just trots out increasingly powerful attacks, usually accompanied by monologues about the strength of their heart and the force of their will. Nanoha A's may have subverted the traditional villain role, but apparently it couldn't think up anything original for the heroes.
If this volatile stew of genre elements seems strange, though, it does become more palatable as the heart of the storyline is revealed. The knights' true motives come into the open, the Book of Darkness's background is made clear, and the true villain of the story—believe it or not—evokes a deeper sympathy than any of the heroes. (Or maybe that's just another cliché taking effect.) Where it would have been so easy to go with the cackling nutcase bent on world domination, this series actually tries to paint the good-versus-evil conflict in deep shades of gray, resulting in a far more bittersweet emotional effect than one might expect from the genre.
But a magic-infused action-adventure must, in the end, deliver action and adventure, and that's where things fall back into the realm of the predictable. The middle episodes feature a lot of sloppy stop-and-start battles, with the knights charging forward and then rearing back as they suddenly become torn between their thirst for destruction and the love of their master. And when it comes down to fighting the final battle—a longwinded four-episode affair (in a 13-episode series!)—everyone just trots out increasingly powerful attacks, usually accompanied by monologues about the strength of their heart and the force of their will. Nanoha A's may have subverted the traditional villain role, but apparently it couldn't think up anything original for the heroes.
OVA Hidan no Aria Chapter 17
http://www.mangafox.com/manga/hidan_no_aria/
Magical Girl Lyrical Nanoha A's can be faulted for many things—a chaotic beginning, a time-stalling middle, an overly drawn-out ending—but one thing it can never be accused of is having a generic, sneering, cackling, Big Bad villain. That's because this series does everything it can to avoid that stereotype, hiding the real enemy within a matryoshka doll of plot twists and revelations. As a sequel series, the pressure to outdo the the original must have been intense: "Actually, Fate isn't the real villain!" just would not do as a plot device anymore, and they had to go bigger and better, and throw in a couple of heart-wrenching moral dilemmas for good measure. The result is a work of raw ambition, desperately straining to break free of the clichés holding it down. To its credit, Nanoha A's comes close. Very close.
Even the title of this series belies its true nature: if anything, Nanoha A's is more of a pure action-adventure that simply uses magical-girl tropes and cuts out the filler. And so it is with the opening arc: Nanoha gets beaten to within an inch of her life in Episode 1, Fate has to fight in her place for almost all of Episode 2, and then it's another whole episode just to explain what the heck is going on. Clearly, familiarity with the original series helps a lot, because the recap ("I was an ordinary third-grader until...") barely counts as one. And don't ask what spaceships and cartridge-loading weapons and computer science mumbo-jumbo have to do with magical combat; this is one of those series where "because it looks cool" is justification enough for anything.
Magical Girl Lyrical Nanoha A's can be faulted for many things—a chaotic beginning, a time-stalling middle, an overly drawn-out ending—but one thing it can never be accused of is having a generic, sneering, cackling, Big Bad villain. That's because this series does everything it can to avoid that stereotype, hiding the real enemy within a matryoshka doll of plot twists and revelations. As a sequel series, the pressure to outdo the the original must have been intense: "Actually, Fate isn't the real villain!" just would not do as a plot device anymore, and they had to go bigger and better, and throw in a couple of heart-wrenching moral dilemmas for good measure. The result is a work of raw ambition, desperately straining to break free of the clichés holding it down. To its credit, Nanoha A's comes close. Very close.
Even the title of this series belies its true nature: if anything, Nanoha A's is more of a pure action-adventure that simply uses magical-girl tropes and cuts out the filler. And so it is with the opening arc: Nanoha gets beaten to within an inch of her life in Episode 1, Fate has to fight in her place for almost all of Episode 2, and then it's another whole episode just to explain what the heck is going on. Clearly, familiarity with the original series helps a lot, because the recap ("I was an ordinary third-grader until...") barely counts as one. And don't ask what spaceships and cartridge-loading weapons and computer science mumbo-jumbo have to do with magical combat; this is one of those series where "because it looks cool" is justification enough for anything.
Anime Velvet Kiss Chapter 7
7
After gaining magical powers and saving the world, Nanoha Takamachi hoped that she could return to the life of a normal third-grader. But being a magical girl is rarely so easy, and a friendly visit from Nanoha's former enemy Fate Testarossa quickly turns sour when Nanoha is attacked by a powerful "guardian knight." These knights are trying to collect magical energy for an artifact called the Book of Darkness, which when completed, will grant its master incredible destructive power. Now it's up to Nanoha, Fate, and the other officers of the Time-Space Administration Bureau to stop another otherwordly crisis. However, many surprises await them—the true nature of the guardian knights, the identity of the Book's owner, and the seemingly futile task of destroying magical artifact that operates with a mind of its own...
After gaining magical powers and saving the world, Nanoha Takamachi hoped that she could return to the life of a normal third-grader. But being a magical girl is rarely so easy, and a friendly visit from Nanoha's former enemy Fate Testarossa quickly turns sour when Nanoha is attacked by a powerful "guardian knight." These knights are trying to collect magical energy for an artifact called the Book of Darkness, which when completed, will grant its master incredible destructive power. Now it's up to Nanoha, Fate, and the other officers of the Time-Space Administration Bureau to stop another otherwordly crisis. However, many surprises await them—the true nature of the guardian knights, the identity of the Book's owner, and the seemingly futile task of destroying magical artifact that operates with a mind of its own...
Anime Gou-Dere Bishoujo Nagihara Sora Chapter 6
http://www.mangafox.com/manga/gou_dere_bishoujo_nagihara_sora/
As a school comedy, the dialogue is pretty light and easygoing throughout the book, and some of the best lines come from the characters taking jabs at each other. (The "convince Kumiko to come along to the pool" sequence is particularly well-timed.) However, the translation occasionally ends up with strange word choices and awkward turns of phrase; these little hiccups can be distracting at times. Sound effects are also handled in a haphazard manner, as some are deleted and replaced with English equivalents, while others are left as part of the artwork with translations placed nearby. A glossary of translation notes in the back is something of a half-hearted effort, with only four entries, but the story isn't too culture-dependent anyway.
It's probably just as well that Kamisama Kazoku doesn't dig too deep into the philosophical implications of being a deity; that's not something easily covered in manga, much less any other medium. Instead, the first volume spends most of its time on something with a greater chance of success: fun, lightweight bursts of comedy that just happen to involve the big man in the sky. A touch of romantic desire and conflict doesn't hurt, either. But doing the little things and doing them well is only the start; this series has yet to prove why its storyline is any better than the rest of the genre. So forget the big questions like the existence of a higher power and the meaning of life—the real thing you might want to ask yourself is, do you like wacky romantic school comedies enough to keep on reading?
As a school comedy, the dialogue is pretty light and easygoing throughout the book, and some of the best lines come from the characters taking jabs at each other. (The "convince Kumiko to come along to the pool" sequence is particularly well-timed.) However, the translation occasionally ends up with strange word choices and awkward turns of phrase; these little hiccups can be distracting at times. Sound effects are also handled in a haphazard manner, as some are deleted and replaced with English equivalents, while others are left as part of the artwork with translations placed nearby. A glossary of translation notes in the back is something of a half-hearted effort, with only four entries, but the story isn't too culture-dependent anyway.
It's probably just as well that Kamisama Kazoku doesn't dig too deep into the philosophical implications of being a deity; that's not something easily covered in manga, much less any other medium. Instead, the first volume spends most of its time on something with a greater chance of success: fun, lightweight bursts of comedy that just happen to involve the big man in the sky. A touch of romantic desire and conflict doesn't hurt, either. But doing the little things and doing them well is only the start; this series has yet to prove why its storyline is any better than the rest of the genre. So forget the big questions like the existence of a higher power and the meaning of life—the real thing you might want to ask yourself is, do you like wacky romantic school comedies enough to keep on reading?
Anime Sukitte Ii na yo Chapter 15
http://www.mangafox.com/manga/sukitte_ii_na_yo/
Still, the quick pacing of the story helps to keep things moving; if one joke doesn't click, there's probably another decent one a few pages further. In between are some surprising moments of tenderness as well, as Samataro starts to develop feelings of love and longing, while Tenko finds herself fighting the pangs of jealousy. But these emotional explorations are just as lightweight as the quick-and-easy humor, adding up to a first volume that hasn't committed to a serious storyline yet. In fact, the most serious development is the one that comes in the final three pages of the book, and readers may find themselves trying to make the tough call of whether Volume 2 is worth picking up for this sudden turn of events, or if this is just cliffhanger trickery. After all, a proper school-romance storyline has to be built on more than just random acts of God...
Wherever things are headed next, though, the artwork manages to keep up with the story's changing tone. Bold, energetic movements and outgoing facial expressions dominate the comedy scenes, of which there are many; these often also involve an appealing-but-not-too-distracting level of fanservice. On the flip side, the images seem to almost slow down in time when it comes to moments of longing or jealousy—suddenly it goes from several minutes of action per page to just a few seconds of inward self-reflection, which shows a surprisingly good command of pacing. Clean lines and rectangular paneling also help to keep things highly readable. Yet for all these technical accomplishments, there isn't much visual creativity to be found—the character designs and backgrounds all lean toward the bland and mainstream, and the toning and texture create something of a flat, gray-on-white look.
Still, the quick pacing of the story helps to keep things moving; if one joke doesn't click, there's probably another decent one a few pages further. In between are some surprising moments of tenderness as well, as Samataro starts to develop feelings of love and longing, while Tenko finds herself fighting the pangs of jealousy. But these emotional explorations are just as lightweight as the quick-and-easy humor, adding up to a first volume that hasn't committed to a serious storyline yet. In fact, the most serious development is the one that comes in the final three pages of the book, and readers may find themselves trying to make the tough call of whether Volume 2 is worth picking up for this sudden turn of events, or if this is just cliffhanger trickery. After all, a proper school-romance storyline has to be built on more than just random acts of God...
Wherever things are headed next, though, the artwork manages to keep up with the story's changing tone. Bold, energetic movements and outgoing facial expressions dominate the comedy scenes, of which there are many; these often also involve an appealing-but-not-too-distracting level of fanservice. On the flip side, the images seem to almost slow down in time when it comes to moments of longing or jealousy—suddenly it goes from several minutes of action per page to just a few seconds of inward self-reflection, which shows a surprisingly good command of pacing. Clean lines and rectangular paneling also help to keep things highly readable. Yet for all these technical accomplishments, there isn't much visual creativity to be found—the character designs and backgrounds all lean toward the bland and mainstream, and the toning and texture create something of a flat, gray-on-white look.
Anime Bambino! Chapter 109
http://www.mangafox.com/manga/bambino/
What comes to mind when one mentions "religious themes"? Giant robots fighting over the end of the world where everything is named after Judeo-Christian terminology, maybe? Or vampire hunters in the employ of the Vatican? But what probably would not come to mind is a romantic comedy where the main gimmick involves a caricatured interpretation of the traditional monotheistic God-with-a-capital-G. Kamisama Kazoku definitely hits "only in Japan" levels of originality with that quirk, and it even nonchalantly plays the "Son of God" card without mentioning a certain carpenter from Galilee. But does it work as an actual romantic comedy? While it gets a lot of the little things right, it remains to be seen whether this story can rise above the genre's standards.
Volume 1 is quick to establish a simple formula for comedy: Samataro gets into a scrape, Dad reads his thoughts and waves an omnipotent finger, and madness ensues. When applied creatively, it leads to some wonderfully off-beat moments—a teacher suddenly going nuts, or an accident being miraculously averted. Add in Samataro's similarly powerful sisters, and more variations emerge, like the madcap outcomes of an "emotional roulette wheel." Yet that same formula can be eye-rollingly predictable as well, like when Samataro meets Kumiko after and she instantly decides to strip for him (and right away you can tell which demographic this series is geared toward).
What comes to mind when one mentions "religious themes"? Giant robots fighting over the end of the world where everything is named after Judeo-Christian terminology, maybe? Or vampire hunters in the employ of the Vatican? But what probably would not come to mind is a romantic comedy where the main gimmick involves a caricatured interpretation of the traditional monotheistic God-with-a-capital-G. Kamisama Kazoku definitely hits "only in Japan" levels of originality with that quirk, and it even nonchalantly plays the "Son of God" card without mentioning a certain carpenter from Galilee. But does it work as an actual romantic comedy? While it gets a lot of the little things right, it remains to be seen whether this story can rise above the genre's standards.
Volume 1 is quick to establish a simple formula for comedy: Samataro gets into a scrape, Dad reads his thoughts and waves an omnipotent finger, and madness ensues. When applied creatively, it leads to some wonderfully off-beat moments—a teacher suddenly going nuts, or an accident being miraculously averted. Add in Samataro's similarly powerful sisters, and more variations emerge, like the madcap outcomes of an "emotional roulette wheel." Yet that same formula can be eye-rollingly predictable as well, like when Samataro meets Kumiko after and she instantly decides to strip for him (and right away you can tell which demographic this series is geared toward).
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