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Series: The Melancholy Of Haruhi Suzimiya – Complete Series 2
UK Release date: 4th July 2011
Distributor: Manga
Certificate: 15
Director: Takesi Koike
Genre: Anime
Format: DVD
Country of Production: Japan
Language: Japanese
Review by: Antoinette Thirgood
In this second series collection, The Melancholy Of Haruhi Suzimiya continues to focus in on the strange powers Haruhi Suzimiya has and how this affects her companions, who all attend school together and have formed the SOS Brigade to investigate the mysterious events which seem to follow Miss Suzimiya around. Produced by Kyoto Animation and part of the franchise comprised of a regular TV series and also an anime film, this set continues the character development of the SOS group and combines both the fantastical and real as Suzimiya affects the plot in bizarre ways.
This DVD set is comprised of two main plot lines involving time travel and the affect Suzimiya’s subconscious has on reality. In the first development, Kyon is asked to time travel and meets the older Mikura Asahina, and has to find the time travel device or TTPD before he becomes trapped in the past with the younger Miss Asahina. This mission is a success, but as the summer holidays break, it soon becomes apparent that something strange is going on, as Kyon is struck by a mixture of strong paranoia and déjà vu , while Suzimiya instructs the gang to follow her summer itinerary of events.
The next development sees Suzimiya decide to make a movie using the SOS brigade as her cast with herself as the director. She plays on Miss Asahina’s attractiveness, using her to gain sponsorship for the film and, in general, bossing her around. She comes up with surreal ideas, often sexualising Miss Asahina. Kosumi has to explain to Kyon the consequences of Suzimiya getting carried away, as the lines between fantasy and reality again begin to blur. Kyon must again confront his feelings and concentrate on what he knows about Miss Suzimaya to save their reality.
There is also a disc with bonus anime features, such as manga versions of the main characters and shorter episodes jam packed with a different plot for each short…
The hint of romance between Kyon and Asahina is fun to watch in this series. Kyon often breaks his serious deadpan narration to exclaim his lack of control over Miss Asahina’s extreme ‘hotness’. With Miss Suzimiya insisting on playing on Miss Asahina’s sexuality and childishness and dressing her in skimpy outfits, fans of Miss Asahina will be pleased with these episodes. The plot dares to push taboos, as one episode even involves a drink being spiked and the threat of violence from Kyon, adding to suspense and revealing a darker side to Miss Suzimiya’s character.
The skill of the animators to convey emotion adds depth to the storyline, and the deadpan sense of humour which runs throughout shows the writers aren’t afraid of a little tongue-in-cheek self mockery. However, the Endless Eight section of the series leaves a little to be desired. Choosing to replay the same eight episodes under the pretence of déjà vu is a little tiring, with very little changing in the way of plot in each episode. The writers could be accused of laziness in using the same material over and over with little effort; three or four episodes would have sufficed instead.
On the ideas explored, however, viewers should not be disappointed. Miss Suzimaya’s consciousness affecting events in the other characters’ lives, such as her wish for something “unknown” that she is unhappy with, is interesting. Kosumi’s tantalising conversation with Kyon pushes him to think about why he gets annoyed with Miss Suzimaya, while also protecting Miss Asahina. It hints that we are closer to seeing Kyon admit his true feelings when he is forced to analyse his relationship with the two girls, adding a duality to the romantic plot which wasn’t there before. The appearance of a Miss Asahina from the future and the information about Nagato being able to transcend time leads to further questions on how the past, present and future will all come to fit together - there are a lot of facts discussed which have to remain “classified” and Kyon is often frustrated trying to piece it all together.
The extra features DVD is fun and shows surprising sides to the characters, some quite risqué, others enjoyable simply for the anime effects used in expressing what happens. In the main, the series has a good use of location. Mention of traditional Japanese events, such as Tanabata, and the purchase of traditional costumes and enjoying fireworks is also an interesting sideline to the main plot. Nagato and Asahina’s dress code competition on the extra features disc is a highlight.
This segment continues the development of characters well and tantalisingly reveals more about the odd collection of characters, while still leaving room for future twists and turns. The reason for Nagato, Kozumi and Asahina being there is further delved into and we also see a bit more from other characters in the school. Overall this series is a good comedy with lots of entertainment provided, often by the extreme mood swings of Miss Suzimaya. Her treatment of Miss Asahina and the romance hinted at with Kyon and the two ladies will be readily identifiable with many viewers.
Kyon’s narration pushes the plot along at a steady pace, the only criticism being the stalling altogether of events with Endless Eight, not enough is offered in variety between the plots to compensate for having to watch the same script re-play itself! An enjoyable watch but still definitely room for improvement in injecting more into the plot. What this series does do successfully is set it up well for lots more to learn about the characters in the episodes to come.
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Series: Birdy The Mighty: Decode – Part One
UK Release date: 11th July 2011
Distributor: Manga
Certificate: 12
Running time: 325 mins
Director: Kazuki Akane
Genre: Anime
Format: DVD
Country of Production: Japan
Language: Japanese
Review by: Anna Attallah
This is a reworking of an OVA released in 1996, which was originally directed by the critically acclaimed Yoshiaki Kawajiri (Wicked City, Ninja Scroll). This time the lesser known Kazuki Akane (Noein, Vision Of Escaflowne) is at the helm and the story has been developed considerably. Based on Masami Yuki’s manga Birdy The Mighty, in itself a remake of an earlier manga published in the ‘80s, crime-fighting aliens (who happen to be drop-dead gorgeous) meets High School drama with an added twist.
Tsutomu Senkawa is a pretty average teenager with a rather odd hobby, namely exploring abandoned buildings. It is this unusual interest which gets him into serious trouble, as he investigates an abandoned warehouse which turns out to be where intergalactic crime fighter Birdy Cephon Altera has tracked the shape-shifting alien Geega. In the ensuing fight, Senkawa is caught in the crossfire and winds up dead.
This isn’t the end of the road for Senkawa, however, as his consciousness is able to exist within Birdy’s body whilst his own body is sent to the Federation for repair. Unfortunately for Senkawa, Birdy is more interested in fighting crime than allowing him to live a normal teenage life, but the arrangement seems to work – until Birdy discovers an evil plot to destroy Earth, which will test their friendship to the limit...
Birdy The Mighty: Decode is clearly aimed at young teenage boys (apart from being virtually naked all of the time, Birdy’s alias on Earth is a glamour model) and the overall feeling is that the writers have oversimplified the plot instead of challenging their intended audience. The first episode spends far too long introducing the characters and only begins to show promise at the very end, with a slick action scene leading to Senkawa’s untimely death. Fortunately, from there the plot does pick up, apart from a bizarre interlude involving a terrorist plan orchestrated by a bunch of dog aliens, particularly when Senkawa’s love interest Nakasugi’s miraculous recovery from a car crash begins to seem less than innocent. Each episode builds on the previous hints as we gradually begin to be drawn into Birdy’s mission to locate an apocalyptic weapon, the Ryunka, before its power is unleashed and humanity is wiped out. Unfortunately, the ending itself turns out to be a bit of an anticlimax, with everything tying up a little too neatly and various possible repercussions being ignored.
This isn’t to say that Decode is a complete washout, and the fact that Birdy has to share her body with a teenage boy offers plenty of scope for comedy. Birdy wryly comments on Senkawa’s clumsy attempts to capture the heart of the beautiful and unassuming Nakasugi, with Birdy herself being a likeable and feisty female whose maverick attitude makes her an appealing lead. Unfortunately, the same can’t be said for Senkawa, whose character suffers from a lack of development which can make him seem oddly devoid of emotion. He seems incredibly uninterested in the fact that he now inhabits the body of a stunningly attractive woman and the practicalities of this point are never even touched upon. His schoolboy crush on Nakasugi does intensify as the series goes on up to the point where he states he is even willing to die for her, yet this inexplicably turns to wooden indifference by the end. The true villain of the piece, not Geega but Shyamalan, a businessman who looks like a male model, is also decidedly two dimensional with the most interesting thing about him being he has a creepy collection of toy dolls (which remains unexplained).
What the film lacks in characterisation it makes up for in a number of fun and well choreographed action sequences, in particular in one episode where Birdy has to contend with an intensely eerie marionette (or robot) that has gone evil.
The music is at turns poignant and atmospheric, cleverly linking the action scenes with the more emotional ones, something which contrasts to the annoyingly catchy opening theme which will become firmly ingrained in your head. Unfortunately the animation doesn’t always keep up with the high-quality score and, at times, seems rushed, but on the whole the effect is of a relatively polished anime which redeems itself on the animation front towards the end despite some questionable character design of the final villain, who resembles a giant jelly baby on stilts.
Birdy The Mighty: Decode is an entertaining and light-hearted anime which reveals a darker edge. The plot is an odd mix of convoluted ideas and oversimplification which could have been made slicker, but there is enough here to keep viewers interested if they aren’t looking for anything particularly heavy. AA
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Film: Evangelion 2.22: You Can (Not) Advance
Year of production: 2009
UK Release date: 20th June 2011
Distributor: Manga
Certificate: 15
Running time: 107 mins
Director: Hideaki Anno, Masayuki, Kazuya Tsurumaki
Genre: Anime
Format: DVD
Country of Production: Japan
Language: Japanese/German/English
Review by: Mark Player
The highly anticipated second instalment to Hideaki Anno's four part feature film series rebuild of his seminal, mid-90s television series, Neon Genesis Evangelion, Evangelion 2.22: You Can (Not) Advance is now available on DVD and Blu-ray through Manga Entertainment.
Set not long after the events of the first film, 14-year-old Shinji Ikari is still conflicted about his supposed destiny; that is: to be an Eva Pilot – towering mechanised cyborg warriors, built to protect Earth from an ongoing invasion of Angels: equally huge and monstrous entities from space that wish to cause apocalyptic destruction. He also has to contend with his estranged father, Gendo Ikari, the director of operations at NERV – the organisation that controls the Eva Units – as well as reach out to his emotionally distant fellow pilot, Rei.
But with the continual threat of more Angel attacks looming, and with each Angel being more powerful and challenging than the last, NERV takes on another pilot; the arrogant and headstrong Asuka, freshly transferred from NERV's European branch. Her presence causes a rift in an already tentative equilibrium between Shinji, Rei and their chaperone/ranking officer, Misato. Things are complicated further by the arrival of a fourth pilot, the mysterious Mari, whose objectives and motives are unknown...
Neon Genesis Evangelion's mythology is so incredibly dense and multilayered that this is now the second time that the series creators are attempting to tell its story – not including the innumerable manga comic spinoffs, or the film that was a re-telling of what many viewers believed to be an unsatisfactory ending to the original series, Neon Genesis: End Of Evangelion (1998) – and as a result, has created a huge world fanbase. Pressure from such a fanbase was partly the inspiration for this reimaging. The first of this new generation of films – dubbed the 'Rebuild of Evangelion' – Evangelion 1.11 You Are (Not) Alone, released last year, was essentially a condensed and relatively faithful recap of the first third or so of the television series, but brought certain elements forward that weren't originally revealed until later on, as well as offered a complete visual overhaul with state-of-the-art animation techniques. Its sequel, the subject of this review, continues this modus operandi…sort of.
The same basic narrative progression occurs, but in a way that's strangely different. Many of the key events from the series take place here – when Shinji is forced into fighting one of his fellow Eva Units, with the pilot trapped inside, after it’s taken over by an Angel virus, for instance – but are executed with different characters and for different motivational reasons. However, fans of the original show will be blind-sided by how scenarios familiar to them have and will be used to evolve the story towards a drastically different conclusion. Evangelion 2.22 represents that figurative fork in the road. While its predecessor played out in fairly predictable tandem with its source, this film starts to deviate from the original course, and it’s mostly for the better.
The characters feel better drawn, not just in terms of animation – which, by the way, looks very good – but in terms of emotional development. The personalities of the main cast, as well as their relationships with one another, feel much more subtle and smooth, whilst complimenting the existing dynamic quite well. Shinji is comparatively less whiny here, in the same way as Rei is a little more human and Askua less of a brat. Mari, a completely new character created specifically for this 'Rebuild', is an intriguing addition who doesn't get massive amount to do this time around, but whose role will probably become more prominent during the next instalments.
Another interesting addition is the extra detail given to the complex workings of Tokyo 3, a huge fortified cityscape that has the ability to lower its skyscrapers into the ground in the midst of an Angel attack and the story's principle setting. Little titbits like getting a glimpse of the evacuation procedures employed to get citizens to safety or the en-mass cleanup operations required after each conflict, which are as ridiculously destructive as ever, are most welcome and go some way to help overcome occasionally dubious logic issues. Rei's apartment complex remains partially demolished, presumably from a battle in the previous film. Considering the number of buildings that are destroyed in Evangelion on a regular basis, it’s nice to see some aftermath consequence as a result of the battles that are had; a reminder of the homes destroyed and the lives lost.
As for the battles themselves, the main draw for most viewers, they have been completely redone to the point that many of the Angels in this instalment are of new design, and with it comes a new vigour and intensity. Some of the set-pieces are especially savage, with the animators having no qualms over having the city awash in a tsunami of blood, or having gigantic pieces of armour-clad flesh rip through people's houses as they are torn off and tossed away. The general pacing of the story is equally brutal, though not quite up to the hyperbolic speed of the first film, and will likely leave the uninitiated out in the cold with all its talk of AT Fields, LCL Fluid and Dummy Plugs (fortunately, some of the film's terminology is collected in a glossary that features in the accompanying Collector's Edition booklet).
Another factor that may confuse or alienate newcomers is Evangelion's characteristically bizarre tonal shifts: flitting from apocalyptic battles of imposing scope to cerebral psychoanalysis of the main characters; each mentally ill or emotionally distressed in their own way. Similar to the television series, there are many biblical references and religious symbolism interspersed, but, at the same time, the film isn't too lofty or pretentious to have a stab at broad humour – scenes involving Shinji, Asuka and Misato living together in the latter's cramped apartment play out like a weirdly raunchy sit-com. Something that even fans may be puzzled over is the infrequent yet noticeable moments of blatant 'fan service' that find their way in: dubious partial nudity, the occasional and unnecessary up-skirt shot or lingering image of cleavage chip away at an otherwise dignified and excellent re-interpretation of one of anime's most successful and popular franchises.
Evangelion 2.22: You Can (Not) Advance is most certainly a treat for fans of the series; taking the Neon Genesis story in an interesting direction without desecrating the series that made it so popular to begin with (although there will always be nitpickers). Those who are new will do better by visiting the first film before taking this one on, but if you know what you're getting into, 2.22 offers a dramatic facelift that will leave you wondering how Hideaki Anno and his team are going to proceed next.
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Film: Musashi – The Dream Of The Last Samurai
Year of production: 2009
UK Release date: 4th July 2011
Distributor: Manga
Certificate: 15
Running time: 72 mins
Director: Mizuho Nishikubo
Genre: Anime
Format: DVD
Country of Production: Japan
Language: Japanese
Review by: Alex Jones
From Production I.G. (Ghost in the Shell, Blood+), director Mizuho Nishikubo and a screenplay by the critically acclaimed Mamoru Oshii (director of Ghost In The Shell, Jin Roh: The Wolf Brigade, The Sky Crawlers and many more) comes a documentary like no other. Combining hand-drawn animation, CGi and traditional art, Musashi – The Dream Of The Last Samurai both tells and analyses the history of one of the Japan’s greatest legends.
Miyamoto Musashi is a legendary Japanese swordsman who, through the years, has become both a key historical figure and hero of myth. He is internationally recognised as the vision of a samurai, and not only wrote one of the key texts of Japanese Samurai philosophy (The Legend Of The Five Rings) but is also famous for inventing the Ni-Ten Ichi Ryu style of two-sword fighting. Over the years, his name has been spread across not only history books, but also films, manga and anime.
In this film, a researcher attempts to tackle the centuries of contradicting information concerning Mushashi, separating the false image of the man from reality…
Animated documentaries are a rarity, and so Mushashi – The Dream Of The Last Samurai is already highly recommendable to anyone looking for anime that breaks the mould. The opening footage creates the perfect aura of what kind of man Musashi was, and the segments of the film that deal with him directly never break away from this. A huge variety of information about the man is presented – from his life and legacy to his fighting technique. Each bit of information is carefully explained without sounding too condescending or patronising. Despite it dealing with real life characters, the film also manages to have a lot of fun with its one fictional element – the researcher. Both colourful and creative, he is really brought to life with his actions and his frustration at both his assistant and fabricated myths about the man who he has devoted his studies to.
While the film deals with many other aspects of Japanese history as well as the life of Musashi, this proves to be a double edged sword. It spreads the film’s focus, but also means that the film diverges from the point it was trying to make far too often (something the researcher even addresses himself). Not only that, but it means there are also potentially crucial details of Musashi’s life omitted in order to maintain the film’s relatively short running time. No time is spent whatsoever on his birth or childhood, moving straight onto his life as an adult. It could simply mean that this chapter of his life his unimportant; however, within the film itself, it comes across more as Oshii writing for those already familiar with Miyamoto Musashi, thus somewhat alienating anyone who may be new to his stories (while Musashi is common ground in Japan, this is definitely not the case for most English speaking countries).
Where this film really shines though is in its visuals. The CGi moments of the Nintendo Mii-esque researcher and his assistant offer light moments of comedy to maintain interest while juxtaposing the traditionally drawn (and spectacularly choreographed) fight sequences, real life photos of places Musashi visited, and paintings of events in his life. The fights are presented in greyscale just to add that extra feeling of it being historical, and there are even instances of the anime Musashi model superimposed over historical artwork, clashing two completely different art styles to create something completely new. The music is also a triumph, the film’s grand score helping to maintain the epic scale the stories of Musashi have now reached.
Musashi – The Dream Of The Last Samurai is a film that takes so many contradicting art styles and blends them into one beautiful picture. Its only flaws are that it sometimes wanders off the subject matter a little too much, and that it perhaps doesn’t provide enough to entice those not already familiar with Miyamoto Mushashi or the works of Oshii. Still, it is apparent that Oshii has a passion for the legendary swordsman, and this is truly reflected in both the visual appeal of the film and the insight it provides. AJ
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Film: Eden Of The East: The King Of Eden
Year of production: 2009
UK Release date: 6th June 2011
Distributor: Manga
Certificate: 15
Running time: 204 mins
Director: Kenji Kamiyama
Genre: Anime
Format: DVD
Country of Production: Japan
Language: Japanese
Review by: Anastasia Catris
Beginning as a background artist on iconic anime films such as Akira and Kiki’s Delivery Service, Kenji Kamiyama has since created a name for himself through his work on Blood: The Last Vampire and his contributions to the Ghost In The Shell film series. After almost six years working in the Ghost In The Shell: Stand Alone Complex universe, Kamiyama has since stepped away to direct the fantasy series Moribito: Guardian Of The Spirit and the modern mystery series Eden Of The East.
Eden Of The East: The King Of Eden is the follow-up to the 2009 television series Eden Of The East. The original television series is offered as an extra in uninterrupted film form on the second disc of this collection, Eden Of The East: Air Communication.
The television series follows the events three months after a missile attack on Japan, known as ‘Careless Monday’. However, the missile attack mysteriously claimed no casualties and was disregarded by most people. The series begins with a young Japanese woman, Saki Morimi, who is visiting Washington D.C. on a graduation trip. After getting into a misunderstanding with local police officers, she is rescued by a naked Japanese man carrying nothing but a phone and a gun, who introduces himself as Akira Takizawa.
Akira is suffering from amnesia and uses his phone to attempt to recall his memories. The phone is charged with ¥8.2 billion in digital money and Akira uses some of this to escort Saki back to Japan. Akira soon discovers that his phone is part of a game and he is one of twelve participants called Seleção who have been given ¥10 billion to ‘save Japan’. By using the phone to call a ‘concierge’, known as Juiz, the participants are able to process virtually any request for a price.
As the series progresses, Akira learns that one of the Seleção is the person who launched the missile attack on Japan. This same Seleção decides to launch a second attack of missiles towards Japan but is intercepted by Akira, who orders new missiles to intercept the enemy. Akira decides that the only way he can save Japan is to use his remaining money to become King of Japan and, once again, erase his memory.
The Eden Of The East film, The King of Eden, follows on where the series left off. Saki is searching New York for Akira, who is missing and once again has no memory. As she searches, several of the other Seleção are attempting to assassinate Akira, so that his rise to monarch is not a success. Upon Saki finding Akira and reminding him of his past, he continues his plan to become King of Japan, despite the other agent’s attempts on his life…
A highly political set of films, one may, at first, be put off by the focus on unemployment issues, entrepreneurism and capitalism. Indeed, during the television series, the translated subtitles are oftentimes confusing and unable to explain things clearly. This is surprising considering the great awareness of Western culture that is shown in the series itself. The film, The King Of Eden, however, is far more Western-audience friendly, with the translation evidently having had more care taken over it, and many terms explained clearly.
The film itself is reminiscent of modern espionage, action dramas such as The Bourne Identity; however, it holds a unique innocence and likability. The animation is light and fluid, with a great display of digital animation coupled with a traditional, painterly look. The first episode of the television series, which has now been compiled into one feature-length film, is comedic with a sweet childishness; however, this recurring childishness jars with the rest of the series and consequent film.
The use of modern technology, including the Eden Of The East recognition system and Seleção telephones, is both innovative and believable, grounding advanced technology in reality. The characters are also well rounded and likable, with each of them having a well formed personality and background. Even occasional fantastical elements are loosely explained, such as Number 11’s transformation into an angel, which is explained as a high-tech ‘illusion’.
Each of the Seleção have unique agendas on how they believe they can ‘save’ Japan. The most intriguing and interesting character would have to be Shiratori (Seleção Number 11) who makes for one of the most exciting episodes of the original series. Shiratori juxtaposes against Saki wonderfully with her overt sensuality and control of men, whilst Saki has a childish and innocent view of relationships. Her character is sadly not expanded upon enough in the final film, however, which, after such an impressive entry into the series, is disappointing.
Both films are a mixture of genres and narrative styles from romance to espionage, action to comedy, which creates a dynamic and enjoyable series. However, the fluidity of the series is marred by the fact that this can often come across as a lack of direction. This is only enhanced by the mixtures of anime styles included in the films. Fluctuating between chibi, kawaii, manga and realism, the differing artistic styles meld with the differing genres to create a highly confusing piece of inconsistent cinema.
Consideration should be made of the value of this DVD box set, as you are, in essence, getting a full television series and film. However, the film is not a standalone venture and should not be watched without having first watched the original series as it is a pure sequel. One should question why the film was not released as a second series rather than a film, as it still leaves a lot of questions unanswered and seems rushed in its lack of resolution. Surely the next film will answer many of these questions, but in creating a film rather than a second series, Kamiyama has let interesting characters and plot developments slide, and we are left with a somewhat boring sequel to an innovative series.
Though confusing in its direction, the television series is imaginative and daring in its use of multiple genres and animation styles. The film, however, lets this series down; seeming tame and one dimensional in comparison to its predecessor.
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Series: Vampire Knight Guilty – Part 3 – Episodes 8-10
UK Release date: 27th June 2011
Distributor: Manga
Certificate: 12
Running time: 72 mins
Director: Kiyoko Sayama
Genre: Anime
Format: DVD
Country of Production: Japan
Language: Japanese
Review by: Lewis Field
Hot on the heels of volume two, episodes eight to ten of Kiyoko Sayama’s shōjo anime Vampire Knight Guilty is released. Far from the brooding romanticism of vampire folklore, get set to witness the series’ darkest and most action packed episodes yet, as the end is nigh and it is time to make a choice - whether human or vampire, it’s kill or be killed.
The volume opens with the revelation that Yuki is in fact a pureblood vampire of the Kuran family and younger sister to Kaname. Known now as the pureblood princess, Yuki’s fragmented past is finally revealed to the disbelief of Zero. Daughter to Haruka and Juri, she is the last pureblood descendent of the Kuran lineage and therefore a prize bounty for those who wish to exploit her.
Kaname and Ichiru decide to awaken Rido from his eternal slumber as a means to end his reign of terror and finally bring peace to the Kuran family. However, Rido’s soul is rampaging the school grounds in Senri’s body for the rare blood of Yuki.
Principal Kaien Cross reawakens his legendary vampire hunter skills and, along with the Night Class and Yagari, they set about protecting the school from the invasive forces of the Vampire Council, the Senate, and Rido’s vampire slaves, who will do anything in their power to capture and manipulate Yuki, Zero and Kaname…
The love triangle that has dominated the series now takes on a darker tone. Zero is now faced with the nightmarish vision of Yuki’s true nature as a pureblood vampire and his duty as a vampire hunter. His memories of her humanity are now nothing more than just that, memories. The woman he had shown such adoration for is now the one creature he despises. As for his relationship with Kaname, we learn in episode ten that Zero has been nothing more than his pawn. One and a half parts vampire hunter, transformed by a pureblood and now with the power of Kuran running through his veins, he has become the ultimate vampire with the strength and abilities to kill Rido as Kaname’s puppet.
The character of Yuki has been somewhat scrutinized in previous reviews due to her being extremely one-dimensional. Her purpose on the most part has been to add the mysterious element to the series, with her inability to piece together her fractured memories. This, teamed with her lovesick teenager routine, really started to irritate. Her transformation from a cutesy high school girl to a bloodthirsty monster is delivered with a poignancy that boosts the series and fleshes out the tired clichés.
Episode eight shows her awakening as a pureblood vampire, and through coherent flashbacks, we witness her mother’s spell that sealed Yuki’s memories and transformed her into a human to protect her from the Senate and Rido, some ten years past. Her metamorphosis is captured stylishly, as contrasting lights soak her nude body and she shivers and recoils in pain. Rather than the empty stares, her eyes now glow with bloodlust, signaling a welcome change to her characterization.
Diverting away from the intricate love triangle, Sayama subverts the romanticism of previous episodes in favour of a far more threatening tone. Yuki’s awakening as the pureblood princess is the foundation that sets about displacing the fragile relationships between rival vampire/human factions. Yuki is now at the mercy of the vampire world. The once protected Cross Academy is no longer safe and is set to become a battleground.
This is perhaps the first set of episodes that really kicks the action up a gear; far from establishing characters and relationships, these episodes poignantly intensify the tension and threatening atmosphere that has been waiting to be unleashed. Even the overly processed romance of the love triangle is fizzled out in favour of setting characters against one another. When Yuki visits Zero for the first time after her transformation, she stops at his door and senses that he is pointing bloody rose directly at her, whilst condemning her as an arrogant pureblood. She bluntly states that the human Yuki he once knew is now gone, as the vampire Yuki completely devoured her.
Far from the love torn brooding, Sayama finally allows his characters to physically express their inner torments. Characters do not simply stare blankly, cry and sulk behind closed doors about the ‘what ifs’. It becomes clear that we are nearing the crescendo of the series and the need for the characters relationships to reach that same climactic point.
Zero’s descent into level-E status has been his character’s main subtext. The fact Yuki’s pure vampire blood now runs through his veins alongside Kaname’s is extremely interesting; the two people he has had such a complex relationships with now haunt his very existence, causing his vampirism to become extremely unpredictable. The love triangle is severed, with Yuki realising she was born to wed her brother Kaname, which subjects the viewer to an uncomfortable series of incestual biting and licking, which is, on the most part, slightly creepy.
The mysticism of the series has now faded with characters objectives brought to the forefront of the narrative. We traverse from mystery to unpredictability with the main protagonists metamorphoses and the knock on effect this has not only to each other but on the wider scale to individuals, in both the human and vampiric worlds.
Episodes eight to ten finally deliver on the series’ title. We witness the violence and bloodshed one would expect from a series titled Vampire Knight. Members of the Night Class are finally given some substance away from their good looks and ‘cool’ demeanour. Servants of Rido attack the school in an effort to free their master, and it becomes the duty of the Night Class to protect the academy. There are several action sequences and the series is given a supernatural edge, depicting vampires as beings with abilities to control mystical powers - Yuki’s trauma at her new found bloodlust causes the walls of her room to crack and the windows to shatter.
This is what viewers have been waiting for; the inherent danger and supernatural forces build tension as the vampire’s violent nature is thrust into the frame with no signs of stopping - this is certainly what the last section of a series needs.
It is obvious that we are reaching the end of the series with loose ends being tied, and questions being answered rather than cleverly avoided. The series does still have its flaws, but the grating love triangle is finally put aside and the episodes stay in the now rather than relying heavily upon past monologues and flashback. With some artsy and abstract imagery and an interesting supernatural edge, teamed with a haunting score of strings, piano keys and chorus, it begs the question, why leave it all to the last minute? LF
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Series: Bleach – Series 06: Part 02
UK Release date: 13th June 2011
Distributor: Manga
Certificate: 15
Running time: 100 mins
Director: Noriyuki Abe
Genre: Anime
Format: DVD
Country of Production: Japan
Language: Japanese
Review by: Kevin Ilett
The sixth series of the epic action fantasy anime series Bleach is named “The Arrancar”. Directed by Noriyuko Abe and produced by TV Tokyo, Dentsu and Studio Pierrot, the series’ twenty-two episodes are based on Tite Kubo’s Bleach manga series. The series covers chapters 183-229 of the original manga. Bleach is known as Shonen anime, aimed at young males between 10 and 18 years, with an emphasis on action-oriented male camaraderie and battle. This volume, Series 06: Part 2, covers the second half of series 6, episodes #121 (‘Clash! The Protector vs. The Bearer’) through to episode #131 (‘Rangiku's Tears, The Sorrowful Parting Of Brother And Sister’). Series 6 originally aired in Japan all the way back in 2007, and the UK is gradually catching up with this new release through Manga Entertainment.
In the highly developed and complex mythology of Bleach, there is the real world and there is the Soul Society, an afterlife world where departed souls dwell. Within this world lies the Shinigami, or Soul Reapers, enforcers of the Soul Society with special powers. The Shinigami’s arch-enemies are the Hollow, corrupted and evil spirits borne from deceased human souls. For one reason or another, these souls have not passed over to Soul Society and they devour the souls of living and deceased humans. Bleach’s long-term hero protagonist is Ichigo Kurosaki (voiced by Masakazu Morita), a human teenager gifted with the ability to see spirits. Ichigo becomes a Soul Reaper, and an important individual in the Shinigami’s struggle against the Hollow.
The second half of series 6 involves the ongoing development of a war between the Soul Reapers and the Arrancar. This group are Hollows who have removed their masks and gained Shinigami-like powers. They are led by the sinister and brilliant Sōsuke Aizen (Shō Hayami).
After a close battle with the Arrancar, Ichigo tracks down another faction called the Visored, ex-Shinigami who have acquired Hollow powers. The Visored help Ichigo control his inner Hollow, through a series of battles, whilst his companions start spiritual and physical training for the war ahead.
The final four episodes focus on a somewhat irrelevant subplot involving the Soul Reapers Rangiku and Hitsugaya, a mysterious singing Arrancar and a puzzling lost child, Shōta Toyokawa…
This release will please fans of the series, but would certainly not be recommended for those uninitiated into the dense and fantastical world of Bleach. Over the years, the franchise has developed a giant, sprawling and wildly complex storyline, creating an entire universe of different characters, traditions, histories, wars, politics and peoples. Manga creator Tite Kubo and anime director Noriyuko Abe have created an entire mythology, with its own language, its own codes and its own hardcore followers. The action found in this volume is fast, loud and intense, but is intermixed with surreal asides, wacky humour and inventive, involving animation which should appeal to all audiences.
The initial story arc of Series 06: Part 02, involving Ichigo’s dealings with the Visored, is undoubtedly the set’s most interesting and absorbing feature. Whilst aimed at boys and teenagers, Bleach should be praised for its complexities and its shades of grey regarding the morals and intentions of its various groups of characters. The Visored are a perfect example of this ambiguity. Supposedly outlawed traitors to the Shinigami and denizens of Soul Society, the Visored initially come across as untrustworthy, possibly in league with the bad guys, but the story eschews such a simple formulation. Led by the powerful yet quite dandyish Shinji (Masaya Onosaka), the colourful gang have different motivations.
The Visored’s character design is great fun, with each member of the gang distinct and intriguing visually, and the characterisation dripping with humour – both dry and madcap – and pathos. Over the course of five or so episodes, the dynamic between Ichigo (a rather bland and self-indulgent protagonist) and the mysterious group shifts entertainingly. At first, Ichigo tries to force the knowledge of how to control his inner-Hollow out of the group through battle, but soon realises his mistake. Shinji, along with the feisty and hilarious Hiyori (Reiko Takagi) agree to help Ichigo their way, by forcing him to ride an exercise bike for days on end in order to see how much spiritual energy he holds. Ichigo must then enter his subconscious and battle his inner demons, whilst the Visored, in a dazzling sequence of action scenes, must fight the deranged and powerful version of Ichigo in the real world.
This arc aside, Series 6 Part 2 feels somewhat stop-gap. Great battles and storylines have passed, and a great war is building between the Soul Reapers, the Visored and the Arrancar, but one must wait to have his fill. This series of episodes helps to build the scene, and gradually develop the already convoluted storyline further. Bleach’s greatest flaw, however, is its overuse of internal jargon and terminology, with each fighting technique and special power holding many special names and being referred to constantly with little explanation.
Often watching Bleach feels like being smacked over the head by a hyperactive child with a very developed imagination. Despite these reservations, the voice talent is enthusiastic, the artwork varied and impressive and the tone, whilst lurching rather oddly from serious action to bizarre humour, is dark and distinct. This set plays its part in an epic story, but greater treasures lie ahead. KI
Series: Nabari No Ou – The Complete Series: Part One
UK Release date: 20th June 2011
Distributor: Manga
Certificate: 15
Running time: 322 mins
Director: Kunihisa Sugishima
Genre: Anime
Format: DVD
Country of Production: Japan
Language: Japanese
Review by: Alex Jones
When people think of Square Enix, their thoughts initially take them to the vast back catalogue of successful video games, most notably the Final Fantasy series. But less people know that they also had a hand in a fair few number of successful anime series, including Pandora Hearts, Soul Eater and (more recently) Fullmetal Alchemist: Brotherhood. Based on the manga series also from Square Enix, Nabari No Ou is a 26 episode series of action, comedy and ninjas. This set is comprised of the first 13 episodes of the series.
Miharu Rokujo is an ordinary high school student, completely apathetic to the world around him. However, his life is turned upside down when he finds out he has a hidden ninja technique locked inside of him. This technique, known as the Shinra Banshou, is extremely powerful and sought out by many ninja clans – who each believe that the one who possesses it will become the ruler of the ninja world.
Without a way to remove this hidden art from his body, Miharu is soon thrust into a world he has absolutely no interest in – the world of the ninjas. He soon founds out his teacher and fellow classmate, Koichi Aizawa, are secretly ninjas, and they vow to protect him from the oncoming attacks of rival ninja clans. They are soon joined by Raimei Shimizu, a samurai girl from the Fuuma Village – the clan responsible for the hidden technique…
From the synopsis, it sounds like there’s plenty to get excited about with Nabari No Ou. However, in the end, Nabari No Ou is yet another generic show in what is already a horrifically generic sub-genre. The characters are so one-dimensional the plot development is over shadowed by how boring they are, and characters like Miharu and Yoite are so full of angst that their constant exchanges become painful to watch. This isn’t say that they are completely unlikable, because Miharu’s disinterest at a world he doesn’t want to be part of is a refreshing take, and it’s hard not to feel some sympathy for Yoite, who is evidently paying dearly for the skills he has. Other characters, such as Raimei, are driven by vengeance in backstories that are horrifically cliché. The comedy often feels forced – and the visual elements included in them, particularly Miharu growing devil wings and a tail when doing/saying something particularly devious, feel completely out of place.
While it does have some moments of brilliance, such as the far-more-complicated- than-it-looks relationship between Raimei and her brother, Raikō, and, in turn, his relationship with his partner, Gau, but even then the exchanges between these characters are over before they even begin (although, there is the possibility these could be followed up in the latter half of the series). The episodes, despite quite obviously being full of story, trudge along slowly, but the set ends on a rather satisfying cliff-hanger – which may suggest good things for the second half of it.
The art style of the series is of particular interest. While the character designs, despite being detailed and well animated, are rather generic and fail to stand out against the typical anime fare, the backgrounds and scenery are quite different. Rather than animated, highly detailed backdrops, Nabari No Ou makes use of sketched backgrounds, lightly coloured - resembling paintings more than actual set pieces. While this artistic choice is certainly a very striking one (possibly the most striking thing of the series as a whole), it is, unfortunately, a double edged sword – while sometimes it helps bring the characters to the forefront, so that the action focuses solely on them (this is particularly key during the fight sequences), the rest of the time, it makes the scenes look very lacking and empty - even rushed.
With a horrifically catchy opening theme, Nabari No Ou has its fair share of great musical moments. The angst of certain characters (particularly Yoite) is reinforced by the choice of background music and episode 10’s main fight sequence juxtaposed with grand orchestral music serves to be one of the series’ biggest highlights.
While there are elements of a complex story present in Nabari No Ou, uninteresting and clichéd characters make this series drag on at a snail’s pace. The action is weak and the dialogue clunky, the story only moving towards particularly interesting events at the tail end of the set. Ninja and/or Square Enix enthusiasts will probably get a kick out of this series, but others should be aware that in the already flooded sub-genre of ninja anime, there are far better choices out there. AJ
Series: Vampire Knight Guilty: Part Two
UK Release date: 23rd May 2011
Distributor: Manga
Certificate: 12
Running time: 72 mins
Director: Kiyoko Sayama
Genre: Anime
Format: DVD
Country of Production: Japan
Language: Japanese
Review by: Chris Harris
Fans of gothic romance Vampire Knight Guilty have been made to wait for every morsel of Matsuri Hino’s anime series, but now they have another volume to get their teeth into. Kiyoko Sayama is back in the director’s chair as the story of Yuki Cross continues with three episodes that take us up to the halfway point in the show’s second series.
As ever, the action revolves around Cross Academy, an institution that houses Day classes of humans – and Night classes of vampires. Yuki and her friend Zero Kiryu are charged with keeping those unhappy bedfellows apart, but are constantly distracted by a love triangle that includes them both, as well as a true-blood vampire, Kaname Kuran.
Yuki knows that a vampire attacked her on a snowy night ten years previously and that Kaname rescued her - but she knows little else. In these three episodes, an increasingly haunted and tormented Yuki tries to piece together her past despite the reluctance of Kaname to reveal what really happened to her.
Kaname’s response to Yuki’s pleas is to take their relationship to a whole new level, while Zero, having finally succumbed to his own transformation into a vampire, tries to control his own bloodlust as he keeps Yuki out of harm’s way.
The return of Zero’s twin, Ichiru, and Senri Shiki heralds even more danger for Yuki and the story takes a violent turn before Sayama leaves the series on a cliff-hanger at the end of episode seven...
That eye-catching set-piece is very welcome, not least because it’s preceded by a good 45 minutes of treading water. These episodes turn the focus back on Yuki’s struggle to cope with her missing memories and the voices in her head. But the intensity of the relationships between Yuki, Kaname and Zero weigh down the story.
The three miserablists swap sighs, gasps and long pauses. And when they do talk…let’s just say a lot gets said before anything really gets said. There’s nothing wrong with a measure of brooding. but there’s only so much one can take of Zero and Kaname peering through their fringes at a world that misunderstands them.
When the emotional scenes make way for action, Vampire Knight Guilty goes up a gear. Whether it’s Kaname and Zero squaring up, or the menacing presence of Ichiru and Senri, volume two grabs your attention when the love triangle is put to one side. Sayama switches the tone in the latter stages, linking Yuki’s relationships to the wider vampire world and the power within that sphere – and it gives this volume a timely boost.
So what of the characters? Frankly, this is not a good time to be Yuki. She is beset on all sides by problems, none of which are of her own making. As ever, she is torn by her emotions for Zero and Kaname, and yet her true quest here is to uncover the secrets of her past. Yuki pushes hard, but is rebuffed at every turn, and sinks further into despair as visions of blood, internal voices and external threats gang up on her.
Zero can barely help - he has enough problems of his own. Those who have seen volume one of Vampire Knight Guilty will know that Zero is still piecing his own world together in the wake of the Shizuka Hio incident. In these episodes, he cuts a peripheral figure while others take centre stage.
Others like Kaname. He is as controlling, as ever, but the mask finally slips in his scenes with Yuki and that makes Kaname rather more likeable than before. All the same, he holds all the aces here. If knowledge is power, Kaname has stacks of it, and it’s left to Yuki to flail around, her eyes bulging, in a vain attempt to extract information.
Once you’ve watched that scene five or six times in the space of two episodes, you’ll understand what a welcome relief it is to see Ichiru and Senri. Both are out for revenge and both shake this series from its torpor.
The threat of violence is cranked up with those two on the scene – note how the moody, brooding piano replaces the power ballads in the soundtrack – but Sayama never lets Vampire Knight Guilty get too serious or too dour. His solution is to lob in moments of whimsy, even farce, as the gothic darkness of the plot is broken up by unexpected shrieks from the more ludicrous characters.
You can see what Sayama is trying to do – this series doesn’t want to take itself too seriously - but his execution is not quite right. In most cases, it’s off-putting, not soothing, to follow five minutes of anguish with a quick burst of stupidity.
The animation goes into overdrive when the farce kicks in, with contorted features to the fore. But the default setting for Vampire Knight Guilty’s animation is brilliantly drawn, often static, gothic visuals. Shades of grey with flashes and flourishes fill every episode, while the male characters are dashing with angular features.
The static nature of the animation works perfectly with the slow, brooding dialogue, but it sparks into life when violent ensues or when Yuki is imperilled – her petrified, bulging eyes are a sight to behold, and perfectly capture her claustrophobia as the world closes in.
The visuals and technical merits of Vampire Knight Guilty are a major plus, even if they are undermined to some degree by a rather formulaic script and that interminable love triangle. But those concerns are unlikely to bother this series’ target demographic. The fans know what to expect – angst, smouldering looks and gothic romance – and that’s exactly what they get.
Mid-season episodes are often drawn-out affairs with character development crowding out pyrotechnics. But Vampire Knight Guilty presses all the right buttons for the teenagers (and the older crowd) who have invested their own emotions in the story of Yuki and her two suitors, Zero and Kaname. They might have expected more than a paltry three episodes, but this volume’s melodrama will keep the fans on side and Sayama’s cliff-hanging climax will leave them thirsty for more. And that’s the whole point, isn’t it? CH
Series: Shikabane: Corpse Princess – Part One
UK Release date: 23rd May 2011
Distributor: Manga
Certificate: 18
Running time: 325 mins
Director: Masahiko Murata
Starring: Keiji Fujiwara, Nana Akiyama, Tatsuya Hasome
Genre: Anime
Format: DVD
Country of Production: Japan…
Language: Japanese
Review by: Nick Bain
Anyone who is familiar with Yoshiichi Akahito’s 2005 manga series of the same name will not be surprised to see the supernatural comic book adapted into a thirteen part anime series brimming with action and unsurprisingly, action heroines toting heavy weaponry of various kinds.
Shikabane: Corpse Princess follows the story of 15-year-old Ouri Kagami (voiced by Tatsuya Hasome), an orphaned schoolboy living within a Buddhist Temple, watched over by his adopted brother Keisei Tagami (Keiji Fujiwara). With a graveyard behind his house, Ouri doesn’t fear death, but he is soon to find out that he does not understand it.
One night in the temple, Ouri sees his brother lean over an apparently dead girl and bring her back to life. That girl is Makina, (Nana Akiyama) a Shikabane Hime who is dead, but remains in the world to do battle with the evil and numerous Shikabane – demons created by the torn souls of people who die with powerful regrets and wreck their anguished rage upon the local towns.
From that meeting, Ouri’s life and understanding of those he holds dearest is changed forever. He finds himself drawn inexorably into a dark, violent world where monks and undead warriors do battle with demons, summoned and controlled by a Traitor Monk with anarchic plans for the human world. Ouri’s fascination with Makina draws him ever deeper to a place where sacrifices must be made to save the world from ultimate destruction…
There is much that is predictable about Shiabane. The well-known archetype of the young boy who meets the superhuman femme fatale is an overpopulated genre of anime. But within this premise lies a story that is brave, compelling and not a little frightening. Early episodes in which the demons take root in young children are particularly harrowing and establish a confident tone that increases as the broader story unfolds.
The series breaks down into an episodic structure in which monsters rise and are vanquished in the space of a short episode. Fast paced, gun totting action is tempered by the political machinations of the order of monks who hold many of the secrets not just of the Shikabane monsters, but also of the Shikabane Hima, who are far from the simplistic demon slaying heroes one might expect.
Indeed, Shikabane does an excellent job of dealing in shades of grey. Aside from our young hero Ouri, all the other characters are in some way touched by death. Some carry this as physical scarring, but others, like Ouri’s brother Keisei, leader of the local order of monks and master of the beautiful but deadly Makina, feel this in the increasingly challenging duties they must carry out in the name of the order.
The series has an extremely effective antagonist in the form of traitorous red monk Akasha (Mitsuru Miyamoto) who, whilst being drawn evilly and sinisterly spoken, is far from the cut-out villain of many anime series. Akasha’s story and motives are every bit as complex as the dilemmas facing our heroes and, like Ouri, we, as an audience, can be seduced by his motivation and even his argument, if not his means of making it.
Unsurprisingly, given the young man meets super girl scenario, there is an expected frisson between the undead warrior girls and their master upon whom the Shikabane Hima are dependent to heal their wounds after the numerous battles, which are energetically and colourfully animated to give them real impact.
Great praise must go to the animation, particularly of the variety of Shikabane monsters who are rendered both graphically and with the same imagination as might the creatures in a Guillermo del Torro film. So good are the creatures, in fact, that some suspension of disbelief must be adopted when watching them vanquished by zombified Japanese schoolgirls.
The writing in the series is far from spectacular. Each episode is grounded by rather stilted expositional dialogue heavy explanations of a plot that we might have enjoyed puzzling out on our own. There is also very evident, poorly interwoven recapping of the plot within each episode, which may have been useful for those watching episode by episode on television, but gets quite tedious for those watching on DVD.
The plot is extremely strong and gets stronger as the series progresses but it is easy to be left with the feeling that the series creators didn’t have the confidence to let it unfold without constantly explaining what is going on. This is sad because the material is unquestionably brimming with potential.
Shikabane: Corpse Princess is a beautifully crafted, strongly plotted genre piece which anime fans will instantly connect with, and it does offer its fair share of surprises. But for a lack of subtlety in its telling, this would be an addictive and entirely rewarding way to enjoy high quality anime. NB
Series: Casshern Sins – Part One
UK Release date: 9th May 2011
Distributor: Manga
Certificate: 15
Running time: 288 mins
Director: Shigeyasu Yamauchi
Genre: Anime
Format: DVD
Country of Production: Japan
Language: Japanese
Review by: Alex Jones
Casshern Sins is the 2008 reboot of Tatsunoko’s classic Casshern: Neo Human anime series – which told the story of an android hunting down robots who took over the world. While Casshern Sins shares some similarities with its predecessor (such as characters) it completely disregards any continuity, opting instead to create an all-new story.
Casshern Sins is set in a world where humanity has almost become extinct, the majority of the population being robots. But now both humans and robots alike are facing an apocalyptic catastrophe known as the Ruin. The world is at its end and the man responsible for it is Casshern.
Casshern has completely lost his memories prior to the beginning of the end, and is now being hunted by human and robot alike. His hunters have heard rumours that if they devour Casshern they will attain eternal life and will also be able to put a stop to the Ruin. In the many encounters he has against those who wish to harm him, Casshern learns that he put the Ruin into motion by killing a girl named Luna, the “sun named moon.” Luna was dubbed the source of life and without her the world is doomed.
As Casshern travels the world to learn more about his past and come to terms with his actions, he meets many people, each dealing with the threat of the Ruin in very different ways. Soon he is joined by Friender, a robotic dog, and encounters people that not only know about him and his past, but bear a striking resemblance to him…
This set encompasses the first half of Casshern Sins (12 episodes out of a 24 episode series) and, for the most part, the episodes are fairly standalone. Casshern, all alone, will meet someone affected by the Ruin. Each character has their own story to tell which ties in how they deal with the Ruin, whether it be a romantic story or their beliefs for the future of the world. Casshern learns something about the value of life, but then, at the same time, the majority of stories end in tragedy. It’s an excellent method of character development for Casshern, who is essentially a blank slate for the majority of the episodes. That being said, the fact that it is difficult to determine whether Casshern is responsible for the Ruin makes the series all the more interesting – while for the most part he seems innocent and naïve to the world around him, the times he shows his destructive side (usually when provoked) are genuinely frightening. The storytelling may be somewhat formulaic, but each episode takes a very different approach to it than the last. So even if you think you know what’ll happen next, Casshern Sins keeps you guessing. The dialogue is deep and meaningful, without sounding too pretentious
One part of Casshern Sins that deserves particular praise is the sheer diversity of character designs. The series show a huge variety of robot designs, from those looking like normal humans (such as Casshern and Ringo, a young robot girl who takes a shine to Casshern) to the legion of more traditionally designed robots hunting Casshern that wouldn’t have looked out of place in series such as Mazinger Z and Tetsujin 28. Not only that, but it includes everything in between – including some rather creepy Pinocchio style robot children.
The art style is incredibly unique, capturing the perfect mix between retro character design and modern flavour. The bleak colours of the ruined world work perfectly against the main characters, whose vibrant palettes make them stand out like a glimmer of hope in a world that’s run out of it. The music also helps convey the mood of the show, and is worked to particular advantage in the episode ‘The Praise Of Hope’, which tells the story of singer who wishes to dedicate her final song to the refugees of the Ruin.
The only real downside to this volume of Casshern Sins is the lack of plot advancement. The antagonists Dio and Lyuze are introduced midway in, but their appearances are scarce, aside from cameos and then one excellent episode dedicated to just them. Casshern’s back-story is merely told through word of mouth and some very short clips at the beginning of each episode, each depicting different parts of his encounter with Luna. Some may consider this a plus, as it gives ample time to fleshing out the characters before thrusting them into the main story, but others might not appreciate 12 episodes of standalone stories that merely hint at a larger arc.
Volume one of Casshern Sins is an extremely promising first half to the series. A bleak look into a future, where it seems not even robots can escape an inevitable apocalypse. It is an excellent series that shows the different ways people deal with disaster while, at the same time, keeping enough mystery in the overall plot to carry over into the second volume. Highly recommended. AJ
