Not an anime (at least, not yet) but I recently started reading and am loving Tomo-chan wa Onna no ko!.
It a story about a tomboy girl (Tomo-chan) who is in love with her best friend Jun, an equally fierce and competitive boy who grew up with her.
However, Tomo's physical prowess and tomboyish manner makes Jun treat her like a boy, going as far even occasionally forgetting that she's in fact, female.
It a light comedy series told one page a day. I actually smile and laugh while reading it. XD
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So, in an effort to move things along...
I've long held that how adroitly a story is told is far and away more important than any question of how innovative it is. While I wouldn't go so far as to say that there's nothing new under the sun, I do think that originality is overrated, compared to the quality of its presentation. Hence why I found myself enjoying Golden Time, a twenty-four episode romantic comedy/drama.
The cliché element to Golden Time is found with its main character, Banri Tada; specifically, that he's an amnesiac. Having experienced a traumatic brain injury just after graduating high school, he spent a year in the hospital having lost all of his memories from prior to his accident. Having left recovery, and feeling no connection to friends and family that he doesn't remember, the story begins with him enrolling in the college that he was accepted to just before graduating.
The other half of the story is the girl he meets there, Koko Kaga. An effervescent blonde, Koko is initially stuck on her childhood friend (who, in an amusing inversion of the classic trope, is not only sick to death of her romantic overtures, but has no second thoughts about her later on) before Banri manages to start a relationship with her, with the show being about their story.
On a surface level, it's easy to compare this series to Friends, in that there's a core group of six characters, three guys and three girls, with the largest drama being around one particular pair of them trying to make it work as a couple. Of course, that comparison is only skin deep, as Golden Time sets up mini-arcs within the main overall narrative of Banri and Koko's awkward romance (and make no mistake, it is awkward - for example, the two of them have the most hilariously-bad attempt at a "first time" since Yamada tried it...see what I did there?).
These mini-arcs, however, are what make the show so enjoyable. If it had become stuck on a single major theme (e.g. "will Banri ever get his memories back?" or "If he does, what will that do to his relationship with Koko?"), then it would have been far more boring than it was. Instead, the plot feels like it moves forward at a brisk pace, as the group tries to deal with immediate issues while still moving forward with their lives.
Perhaps the greatest example of this is the (slightly dissonant) supernatural element that pervades the middle of the series. In this, we see that Banri is "haunted" by the ghost of who he was before his accident. There's a vague implication that the accident was so severe that it caused his soul to leave his body, and that the memory loss is merely a side effect of this, but it's never clarified. This angle, which fades away (for a reason that is thankfully made plain fairly quickly) as the show moves on, could have been more odd if the supernatural angle was played up more heavily. But instead, it's used almost as a metaphor for the issue of Banri's past refusing to stay buried, even when he wants nothing to do with it.
The show isn't without its imperfections, of course. The most egregious of these is that the other supporting cast members can sometimes feel superfluous. That is, they can sometimes come off as being exactly what they are: vehicles to move things along for Banri and Koko. What highlights this isn't so much that they play too hefty a role in helping the errant duo, but that the sections that focus on their own lives can come across as somewhat disjointed and incomplete in comparison, as though the show were trying to hard to say "see? These guys are fully-fleshed out characters with their own lives too!"
(And God help you if you play a drinking game with people saying Banri's full name. I have no idea why, but it seemed like people kept saying that a lot!)
Overall, Golden Time was a fun little rom-com with interesting (main) characters and a smart sense of pacing. If you like love stories with a nice dose of drama, you could do a lot worse than this show.
Plotwise it's pretty simple; Get the gang together, overcome the challenges and then defeat the evil guys in their lair. Thing is the group make up is full of neat characters, just thinking about the Alignment make up of the current party gets me giggling.
Priestess I'm thinking is LG
Demon Necromancer either NE or LE. She practical Evil
Spearfighter is CG, all flashy hero style character.
Archer I'm thinking either LG or NG
Mage I'm thinking is TN. Seems to play both sides a fair bit and very much "I'll use what I can get to get the job done"
The Assassin is probably NE pushing CE. Very much a "I Kill because I can't not think of killing people when I meet them"
Our Main character the Mysterious Swordsman is probably NG. He's pretending like it's got nothing to do with him and he's only their under duress but it's not like he's going anywhere and tends to go out of his way to head problems off before other people get themselves killed.
Figured that the Mage could also be a GMPC that blithely leads our eclectic cast of "trouble-shooters" down the old railroad... but in an all together awesome way. ;)
And as an unrelated aside: for those that might not be all that enamored about the doll-like appearance of the cast, would it help to pretend that it's all just some creepy looking cgi work? ;)
I have watched all of season 1 and 2 and can now give a proper review.
- First, I partially retract my comment about the sexualization of the girls. This seems to have just been a stunt used at the start of season 1 to attract a bigger audience by influencing those who are into such stuff to try the show out. It doesn't continue. In fact most of the show is completely free of it.
- Secondly her cousin Youko makes complete sense now. This is because they do almost nothing to explain what is happening or why in season 1. In fact the entirety of season 1 seems to just be the establishment of the friendship between Madoka, Lan, and Muginami, and their bonding with the VOX robots.
- Also once the girls start meeting people at the school it's made very clear all three are very popular. So I again have no idea how Alzrius got "loners" out of the show at all?
- Last correction is again confusion over Alzrius's statement that everything is resolved by forcing people to talk it out. In fact the ONLY thing ever resolved by such action is the relationship between the girls themselves. Ultimately such an attempt ended in complete failure. The real resolution was...
Spoiler:
The alternate dimension that has the power to grant wishes.
- Ultimately the show is VERY character driven and has well developed characters. Which is a huge PLUS!
- The show is heavy handed about one thing. The power of friendship. But it makes complete sense since the key friendships involved are between the pilots of three ancient super robots which feed on emotions and literally get more powerful the stronger their friendship is.
Over all the show is a comedic juxtaposition between their life as schoolgirls and as super robot pilots. It is a fun feel good show which will leave you feeling uplifted and happy by the end. Well worth watching all the way through season 2.
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Aranna wrote:
- Also once the girls start meeting people at the school it's made very clear all three are very popular. So I again have no idea how Alzrius got "loners" out of the show at all?
You seem to have deliberately ignored my previous explanation here, which is that I was using that as a shorthand for "lacking in any deep friendships prior to having met each other." That they're "popular" has nothing to do with that.
Indeed, one of the driving themes of the show is that all three girls feel isolated from others because they're letting themselves be defined by the roles that other people have constructed for them. As with most "coming of age" stories, the show is about them breaking free from that so that they can define themselves, and in doing so form strong bonds with others of their own volition.
Quote:
- Last correction is again confusion over Alzrius's statement that everything is resolved by forcing people to talk it out. In fact the ONLY thing ever resolved by such action is the relationship between the girls themselves. Ultimately such an attempt ended in complete failure.
I don't believe that this is correct. Quite the contrary, Madoka ends the war between La Garite and De Mitrio by essentially forcing Villagulio and Dizelmine to sit down and work out the issues that they have with each other because of their personal histories, threatening to beat them up if they don't. Moreover, this attempt is a complete success
Spoiler:
even when Dizelmine backslides on his agreement, Madoka is able to make him recant afterwards. Things only escalate after that due to Moid's betrayal.
Beyond that, I disagree with virtually everything you've said about the show, as the characters are two-dimensional and everyone falls in line with the Mary Sue (to use a loaded term) protagonists. It's a frustrating watch that, in my opinion, leaves its viewers with only a sense of irritation to break up the boredom. Obviously, your mileage varied, but I wouldn't recommend this series to anyone.
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I talked about this a little over in the "What are you currently binge watching?" thread, but I'll go ahead and expand on my review here.
One of my perennial issues with single-cour anime series is that it can be difficult to fit everything into only twelve or thirteen episodes, particularly if it's an adaptation of an existing work. In that case, the show will either need to resign itself to telling just a fragment of the whole story, or compress things down to where it can all fit into the episodes that it's been allocated. In the case of Beyond the Boundary ("Kyokai no Kanata"), it honestly feels like they tried to split the difference, and in the end satisfyingly accomplished neither.
A twelve-episode series, Kyokai is set in the modern day, where creatures called youmu - invisible to normal people - bedevil the population, and are hunted by Spirit World Warriors, people with supernatural powers that fight them. The story revolves around Akihito Kanbara - a half-human/youmu who is immortal - and Mirai Kuriyama, a Spirit World Warrior who is exceptionally powerful, but is both insecure and an outcast.
I won't go too deep into the details of the plot, as it's a fairly tight narrative that's built around a series of events happening with the local youmu even as Mirai - a newcomer to the local area - gets to know Akihito and his friends.
I do have to give the show credit, as it does a surprisingly good job at juggling disparate elements, both in terms of tone and presentation. Where the former is concerned, the show deals with some fairly heavy drama, and yet is able to also deliver humor adroitly, which I attribute to the fact that it knows to keep the two separate. For example, when a revenge-driven girl from Mirai's past shows up, out for blood, the show doesn't try to break that up with comedic antics, letting the drama play out without undercutting its seriousness. Instead, it segregates the comedy for when, as an example, the group tries to confront a youmu with a skunk-like defense by...singing and dancing at it.
Moreover, the presentation works because the show deftly flips back and forth between characterization and plot advancement. The main thrust of the show is the relationship between Akihito and Mirai, and it pushes this forward both by giving them plenty of interaction - both with each other and other people - but also by pushing forward a web of intrigue that undergirds the serious situations in which they find themselves on more than one occasion.
(In fact, the show even goes so far as to give them signatures, with Akihito unfailingly going ga-ga over girls in glasses, while Mirai has a catchphrase: "How unpleasant!" ("Fuyukai desu!").)
All of this makes it a shame that the show quite clearly can't do everything it wants to. Ultimately, the background events that set the plot in motion are only ever hinted at, with no clear answers forthcoming. While this doesn't hurt the impact of the show's resolution, there is a sense that it could have been a lot more enjoyable if we'd been given a greater peek behind the plot's curtain. Given that there's a few OVAs and a movie or two for this series - none of which were on Crunchyroll - I suspect that these at least try to fix this.
Overall, Beyond the Boundary is a good show that's straining at the edges of what it wants to do. It's a shame that the anime - based on a light novel series that only had three volumes - couldn't quite manage to pull off the landing, when everything else about it was nicely polished. Still, it's one of the better shows out there, and it's worth a watch.
- Also once the girls start meeting people at the school it's made very clear all three are very popular. So I again have no idea how Alzrius got "loners" out of the show at all?
You seem to have deliberately ignored my previous explanation here, which is that I was using that as a shorthand for "lacking in any deep friendships prior to having met each other." That they're "popular" has nothing to do with that.
Indeed, one of the driving themes of the show is that all three girls feel isolated from others because they're letting themselves be defined by the roles that other people have constructed for them. As with most "coming of age" stories, the show is about them breaking free from that so that they can define themselves, and in doing so form strong bonds with others of their own volition.
Quote:
- Last correction is again confusion over Alzrius's statement that everything is resolved by forcing people to talk it out. In fact the ONLY thing ever resolved by such action is the relationship between the girls themselves. Ultimately such an attempt ended in complete failure.
I don't believe that this is correct. Quite the contrary, Madoka ends the war between La Garite and De Mitrio by essentially forcing Villagulio and Dizelmine to sit down and work out the issues that they have with each other because of their personal histories, threatening to beat them up if they don't. Moreover, this attempt is a complete success ** spoiler omitted **
Beyond that, I disagree with virtually everything you've said about the show, as the characters are two-dimensional and everyone falls in line with the Mary Sue (to use a loaded term) protagonists. It's a frustrating watch that, in my opinion, leaves its viewers with only a sense of irritation to break up the boredom. Obviously, your mileage varied, but I wouldn't recommend this...
It isn't that I ignored your explanation it's that I reject it. Only people with deep close friendships aren't loners?! Huh? That makes no sense. A loner is "a person who prefers not to associate with others." to quote the dictionary. They all associate with others freely and clearly enjoy it.
Also I begin to see what you clearly missed that gave you the impression about talking about it working.
Spoiler:
In the dialogs between the Kings and Moid at various points you can piece together that the only reason he stopped the war with De Mitrio is because he thought he had lost... NOT because he feared Madoka punching him... the whole punch thing was just for humor. So in essence Madoka's efforts just gave him the way out from having all the various factions attack him after his plot was revealed. But that changed when Moid gave him a way to open the portal without the girls. And he immediately attacked again.
I saw it, but was very unimpressed with what I saw of Kingdom of Magic, so didn't give it a further look. Something just felt...off about the second season as compared to the first. I couldn't quite put my finger on it but a combination of the voice acting feeling somewhat different, to the animation being off as well, an apparent shift in tone, and of course COMPLETELY IGNORING the end of the first season because apparently it was non-canon and they wanted to get back to the proper plot made me watch a couple of episodes and then drop it.
The reason I don't like harem anime is because, generally, the story does not make sense even within the context of the universe it is in. There was this one, I forget the name, where there are these mech suits that only women can pilot for some biological reason. Then there was one man that could, so this was a big deal. Okay, I'm following so far. After one fight with a stuck up pilot at this academy he was in, every girl in the series and even the ones that hated him just moments before, went total obsessive stalker on him with how much they loved him for no reason whatsoever.
You're either talking about Infinite Stratos, or Tenchi Muyo: War on Geminar. The latter actually goes a lot into the ramifications of that. Male pilots are seen pretty much as political breeding stock, highly sought over but given little agency and respect(one male pilot was kidnapped, and hinted raped by a bunch of bullying girls).
Indeed, there are a lot of male pilots that joined the bad guys primarily because they were tired of being treated that way.
So I'm thinking you're thinking about Infinite Stratos.
Infinite Stratos was what I saw, and I hated it. Sorry it took me so long to reply.
The only Tenchi Muyo I saw was a show just called Tenchi Muyo. I saw it way back in high school because my cousin's uncle had taped it off of his not-quite legitimate dish and gave it to her. Adult Swim/toonami or whatever the station was called simply did not air here where I live so this was the only option we had. I only saw maybe five or six episodes of it though. I thought it was okay at the time but never revisited it.
Where do you live? Cartoon Network airs in quite a few countries. You may have just been looking for Toonami as a channel rather than a programming block.
I'm in Canada, in northern BC. At the time, cartoon network did not air here. Instead, we had a station called Teletoon and YTV which was a bit different and had very few, if any, anime. Heck, we never even got Thundercats back in the 80s.
Gotcha. I figured I'd ask because I've heard all sorts of fun stories (and looked up some clips) about the relative quality of stuff like the Naruto and DBZ dubs in Spanish, German, Italian, Portuguese, etc., so I know they aired in a bunch of different places.
I'm in Canada, in northern BC. At the time, cartoon network did not air here. Instead, we had a station called Teletoon and YTV which was a bit different and had very few, if any, anime. Heck, we never even got Thundercats back in the 80s.
I presume anime is covered under the Canadian Content Laws. I haven't kept up on any changes or the specific nuances, but I remember that the Vancouver filming industry often couldn't get stuff aired in Canada because of those laws (largely because they are US productions that film there for cost reasons).
Or have things changed (Or was I merely wrong to begin with?)?
Removed some back-and-forth posts. Agree to disagree folks—this is a topic that's full of varying opinions, which may not be shared by all folks. Don't make it personal.
Well, not once people found out who the writer was... but then, they deliberately hid his involvement for the first few episodes, I think. XD
If you'd like a somewhat more optimistic magical girl show, Yuki Yuna is a Hero is one of my all-time favorites in the genre (and, in fact, in anime as a whole).
Removed some back-and-forth posts. Agree to disagree folks—this is a topic that's full of varying opinions, which may not be shared by all folks. Don't make it personal.
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Liz Courts wrote:
Removed some back-and-forth posts. Agree to disagree folks—this is a topic that's full of varying opinions, which may not be shared by all folks. Don't make it personal.
...and how exactly did my review of Lagrange, by itself, fall into the category of "back-and-forth" posts?
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Aranna wrote:
It isn't that I ignored your explanation it's that I reject it. Only people with deep close friendships aren't loners?! Huh? That makes no sense.
It makes perfect sense; you can be alone in a crowd of people, and be a loner even if you have numerous acquaintances. That is to say, you misunderstood what I said; see below.
Quote:
A loner is "a person who prefers not to associate with others." to quote the dictionary. They all associate with others freely and clearly enjoy it.
The dictionaries that I looked in both included that a "loner" can be someone who is alone - regardless of reasons - and not just someone who wants to be alone.
In the case of Lagrange, that very clearly applies to Madoka, Lan, and Muginami, as they are alone in the sense of having no close friends before they find each other. They have casual acquaintances, sure, but that's quite clearly not enough.
Quote:
Also I begin to see what you clearly missed that gave you the impression about talking about it working.
I didn't miss what you indicated; rather, I don't think it carries the same significance that you seem to be assigning it.
Quote:
Spoiler:
In the dialogs between the Kings and Moid at various points you can piece together that the only reason he stopped the war with De Mitrio is because he thought he had lost... NOT because he feared Madoka punching him... the whole punch thing was just for humor. So in essence Madoka's efforts just gave him the way out from having all the various factions attack him after his plot was revealed. But that changed when Moid gave him a way to open the portal without the girls. And he immediately attacked again.
Spoiler:
The issue with the "punch thing" is not just for humor. It's the summation of the fact that Madoka and her friends have gained greater military strength, and are threatening to use it unless Dizelmine and Villagulio make up with each other personally.
Now, it's true that Moid convinced Dizelmine to go back on his word, but that ended up concluding in exactly the same way. Madoka went in, battered her way through the situation (albeit this time via Yurikano), and forced her will on the situation, which was "everyone WILL be friends with each other...or else!"
In both cases, Madoka used force to demand - not peace between the two factions - but a state of personal friendship between their leaders.
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So for no reason that I can fathom, my previous review of Lagrange: The Flower of Rin-ne ("Rinne no Lagrange") was deleted. I'm going to presume that this was some sort of mistake, since there's no way that it violated any of the forum rules, and do my best to rewrite it.
I'm of the opinion that reviewing something is a process of asking the following questions about a particular work: 1) What goals did it set for itself? 2) Did it succeed at meeting those goals? and 3) If so, how artfully did it achieve them? If not, then why not?
To my mind, Lagrange was a coming-of-age story that wanted to focus on themes of (deep and meaningful) friendships and self-affirmation as one enters the world. However, I'm of the opinion that it failed to meet those goals, largely as a result of how it utilized external opposition to try and represent internal tribulations. I say "how" there because the idea of having external circumstance be reflective of personal growth is far from a new idea. Rather, the issue was that Lagrange simply didn't do this very well, to my mind.
A twenty-four episode series, Lagrange is the story of a high school girl named Madoka. When she's suddenly tasked with piloting a mecha - and use it to defend against two galactic kingdoms whose war has just arrived at the Earth - she eventually becomes friends with the princess from each kingdom (who themselves break away from their homelands), using their mecha to bring an end to the war while trying to also navigate their everyday lives.
The setup here is presented rather well; the initial episodes make it clear that while Madoka, Lan, and Muginami are all initially well-adjusted teenage girls, as their circumstances suddenly change each of them has a personal crisis that needs to be overcome. For Lan and Muginami, this is based around separation from their family up until that point, forcing them to figure out who they are apart from their extended social network. More notable is Madoka, who goes through this transition without any sudden transition, and as a consequence needs longer to figure things out.
This is where the story of "adolescence-turned-adulthood" tries to tie into themes of friendship. All three girls are fundamentally alone at the beginning of the series; while this is highlighted when Lan and Muginami are separated from their respective kingdoms, Madoka's isolation comes into focus in a way that more directly connects to the show's main theme of growing up: for her, the realization is that she's been acting the part that her older cousin invented for her as a coping mechanism to deal with her (Madoka's) mother's death. It's in realizing that she can't maintain this identity after high school ends, since it's not her own, that Madoka's pathos comes from.
The reason I don't think that the series is very good, however, is that it tries too hard to telegraph its message. For Madoka, the answer to this problem is not so much to create a new sense of self (the way that Muginami and Lan do), but rather to come to own the identity that she's had up until now. Rather than act as a member of the "Jersey Club" - the single-member school club that she's in whose activities are to go around doing good deeds - because that's how she was taught to act, Madoka makes the conscious and deliberate decision to do so because that's who she wants to be.
This determination is presented in terms of her being essentially unstoppable - not just on the battlefield - but in the face of almost every problem she faces. While we do see instances of her having self-doubt, these are comparatively few and far between. Instead, most of what we see is Madoka blazing a way through any and all opposition.
By itself, that's not a problem; there are lots of shows that use pesonal determination as fuel for overcoming an external situation. The problem comes in the form of the show throwing Madoka against problems that shouldn't be able to be solved via simply being headstrong...and then she solves them anyway. The most egregious example of this is that she manages to single-handedly end the war between two galactic-scale civilizations by indignantly declaring that their leaders should...not so much sit down to talk, but open their hearts and share their feelings with each other (or she'll beat them up).
This, for me, was the single greatest failing of the series. War, especially at that scale, shouldn't be something that can be ended (let alone instantaneously ended) by just making their leaders hug it out. Moreover, the idea that only the pure-hearted determination of a teenage girl can see that, let alone make it happen, was more than my suspension of disbelief could handle.
The end result was to make Lagrange into a show where everything revolved around its main cast to a degree that the narrative didn't seem to adequately support. Ultimately, Madoka seemed to triumph over her foes not so much because she had an ultimate mecha at her disposal, or even because she had determination that became a source of power for that mecha, but simply because she wanted it more than anyone else...whether it was combat or emotional virtue. The former is plausible, whereas the latter is not (at least to me).
Ultimately, this was the series single greatest failing, and why I wouldn't recommend it. When the main character can bring an end to macro-scale sociopolitical problems because she can emotionally-overbear the opposition, the show isn't one that I think is worthwhile.
Alzrius: The proper response here to moderation issues is to contact the moderators and ask. They have restored deleted posts on occasion.
Just reposting a removed post (and continuing the deleted back and forth - or was the previous post also a repost?) is just asking for trouble.
Flagged.
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thejeff wrote:
Alzrius: The proper response here to moderation issues is to contact the moderators and ask. They have restored deleted posts on occasion.
That's what I did. Or did you mean privately?
I've seen public responses to moderation here before, and can't recall any particular admonishments that such responses should be done privately, so I didn't take that to be an issue.
Quote:
Just reposting a removed post (and continuing the deleted back and forth - or was the previous post also a repost?) is just asking for trouble.
Flagged.
Neither of those were reposts; I rewrote my initial response to Aranna's points in a way that was designed to be less confrontative while still speaking to the points under debate; given that Liz had seen fit to leave that particular response of Aranna's up (as well as one of mine before it), it seemed self-evident that the debate itself was permissible.
Likewise, the second post was a complete rewrite (and I stated upfront that it was a rewrite) of my thoughts on the series in question, rather than a word-for-word repost.
Don't lump me into that. I perfectly understand... No personal attacks. And allow other people to have dissenting views. I support that completely. You will note I haven't tried to continue either.
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Krensky wrote:
Both of you compleyely missed the point.
I don't believe I did, but if you disagree then I'm interested in hearing your opinion on the anime under discussion. What do you think the point of it was?
I have been continuing to watch Food Wars (Shokugeki no Soma) and I have to say I liked season 1 better. It seems the entirety so far of season 2 is just the cooking competition. And while I love watching the big show downs I miss the character growth and story development they had in season 1. I find myself wishing they would do more between the duels. Still I am addicted to cooking shows and will watch it regardless.
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Sundakan wrote:
I saw it, but was very unimpressed with what I saw of Kingdom of Magic, so didn't give it a further look. Something just felt...off about the second season as compared to the first. I couldn't quite put my finger on it but a combination of the voice acting feeling somewhat different, to the animation being off as well, an apparent shift in tone, and of course COMPLETELY IGNORING the end of the first season because apparently it was non-canon and they wanted to get back to the proper plot made me watch a couple of episodes and then drop it.
So I just realized that the post of mine that this is in response to was also deleted, making it unclear what series is being discussed here.
To fix that: this is in regard to my mentioning that Netflix is currently hosting Adventure of Sinbad, a spin-off of Magi: The Labyrinth of Magic (and its direct continuation, Magi: The Kingdom of Magic). As the name suggests, this tells the story of the adventures that Sinbad had as a young man.
