Episode 7 of Game of Thrones’ 6th series –entitled The Broken Man– saw the return of fan favourite/hated Sandor “The Hound’ Clegane (played excellently as always by Rory McCann). The Hound hadn’t been seen since the end of series 4, when he was left to die by Arya after his devastating duel with Brienne of Tarth . His ultimate fate was left up in the air (in the TV series, he very much died in the book), with many fans clamouring for his return. So, apropos of nothing, the Hound suddenly returns so late into series 6.
What is odd is how his reappearance both felt natural and jarring.
Natural, in that the story of him being rescued by Ian McShane’s Brother Ray (a huge waste of a great actor, especially since he doesn’t even utter the word cocksucker once!) & contemplating his own violent nature and the possibility of redemption. The form of the Hound’s arc is perfect for the character, in that he finds himself rescued by a man who shows him both respect & kindness –two things that have been utterly anathema to the Hounds existence– but finds himself drawn back to his inclinations towards killing. He is given a place in a religious community who both fear & accept him, he works labour which suits his temperament but he is ill at ease with a life of peace –acting like Damocles waiting for the sword to finally drop.
Yet it is a jarring return because it does not have a natural fit within the narrative.
Narratively it comes as a break in the current tension of the story. Beginning episode 7 in a way to purposely confuse the viewer, make them wonder why they are watching the scene of harmony & construction –two things that mesh against the usually themes of the show. Whilst the viewer has gotten to wonder about this tonal schism, they are shown the scarred form of the returned villain/anti-hero but not in any role or form they are used to.
This is an intentional jarring of expectations & visual setting yet it unfortunately breaks the established flow of the narrative.
It has no basic place within the current season’s arc; coming with the feel of being placed in as a breach to fit in other sudden shifts in the narrative direction.
Personal conjecture has it that since it showed the return of the Brotherhood Without Banners –who until this point had not been seen since the 3rd series– it is purposed to unite the Hound, Brienne (who is currently on her way to the Riverlands to recruit the Black Fish to fight for Sansa Stark) & Jamie Lannister in capture by the Brotherhood so Lady Stoneheart, née the resurrected Catelyn Stark, can have her revenge on all who betrayed her or served her enemies. Which is combining how characters are last seen within the books A Feast For Crows & A Dance of Dragons. This plays into bringing the Frays back into the fold & having Jamie, whose character arc was skewed with weird trips to Dorne & conflict with the High Sparrow, go to Riverrun to aid the Fray’s in their failed siege (which also brings the other fan favourite Bronn back to our screens),
In this writer’s very (very) unhumble opinion, bringing a character as looming in the minds of the television adaption as the Hound carries the odour of pandering.
Whilst it does fit that he could have survived his fight with Brienne and fall from the cliff, his arc should have been more naturally ended. Serving as a point of evolution of Arya as she chooses not to kill him because she both respected & hated him. This possible forced merging of divergent storylines & character arcs.
Yet the Hound is unneeded for such a resolution.
He has served his narrative purpose but his fate was left ambiguous. This meant that many fans & viewers could wedge their desires for his return into the conversations around the show. After the relatively poor reception of the 5th season, one could speculate that the show’s forerunners have been saving a return of such a divisive character within the fan community for a point that will garner maximum interest as the 6th series steams towards its conclusion. Thus making the Hound’s return both pandering & exploitative.
With the show’s forerunner recent announcing that they want to end the show in 2018 with the 8th series, possibly making seasons 7 & 8 shorter in the amount of episodes for each, one can see why they would be in a rush to draw in elements of the books (both written & forthcoming) to see the entirety of the story reach a satisfactory conclusion. Yet to bring in unnecessary threads, be in the return of the Hound or strange asides to fill in character happenings, chokes the already ongoing story as well as breaks the view of the narrative. Many viewers have complained on social media about how Arya’s arc with the Faceless Men drags on to nowhere –partly because of how different it is from the books but mainly because it feels boring in how its told– & this is something that could have easily been repaired if the showrunners had actually spent time on solidifying character arcs & the overall plot instead of shifting things to suddenly pander to viewers’ supposed expectation.
Which brings this writer onto what they consider the most extreme & vexing of Game of Thrones’ pandering: replacing proper storylines & scenes with pointless female nudity.
Cast your mind back to the events of episode 7. Do you remember the suddenly interlude with Yara & Theon Greyjoy as they with their band of reavers partied it up in what may have been Barvos (it was never made clear to this writer where they were). They were at a brothel, so naturally this meant there had to be lots & lots of naked women around & Yara had to be transformed into either bisexual or a lesbian (neither of which are an issue if they have always been a constant of the character before that moment).
Now, do you recall what the scene was actually about? What purpose it had in the greater narrative scheme or even what Yara & Theon spoke about?
If not it was probably because you were distracted by Yara sucking on some whore’s tits.
Game of Thrones & HBO in general have built reputations for themselves as providers of adult content. Unfortunately, in the US ‘adult content’ tends to mean tits & violence.
Something that garnered Game of Thrones a lot of mainstream attention is that it did not shy away from either yet once that genie was released from the bottle, HBO could no longer tone it down. They had to keep pushing such angles because that is how they viewed audience expectations of the show –that they only watched it because titties would somehow be involved.
Now, this is not a prudish complaint.
There is nothing wrong with nudity in media but it has to serve a narrative point.
One can go on about how it can be seen as either empowerment & life saving or if it is entirely exploitative & vulgar yet that is not the crux of this writer’s vexation.
The issue at hand is how the insertion of scenes dedicated entirely to sex & nudity take away from important character scenes & story arcs. It is like the story is proceeding at an excellent pace, hitting all the right points for audience engagement, when it all screeches to a halt to grab our collective heads & say “hey look! Here some titties! Maybe some arse or bush! LOOK AT IT! LOOK AT MATURE WE ARE!!! All done? Good. Now back to the plot”.
This writer cannot be burdened by writing out every example in every episode & ever series yet the ones that stand out the greatest are Podrick’s visit to Little Finger’s brothel to lose his virginity as well as the pirate Salladhor Saan telling jokes in the bath to two prostitutes. Neither of these scenes served any narrative purpose. They were meant for ahem titillation & breaking of heavy tones that may or may not drag down an episode. Yet they have no function that could not have been fulfilled in other ways that did not have nudity as their centrepieces.
Yet this supposed obsession with associating nudity with maturity can only reach so far before it simply does become blatant pandering & exploitation of audience so socially starved of the normality of sex & nudity that they come to believe that any expression of it is a healthy taboo that one can indulge in with a sense of collective joyous guilt (which is also how shite like Fifty Shades of Grey become a brief zeitgeist but that’s an article for another day). One can endlessly argue that the over moralising of nudity & sex is something so profoundly toxic to social discourse that it overflows into & corrupts so many other aspects of society yet that wavers from this writer’s point.
The complaint remains that the majority of nudity within Games of Thrones is superfluous at best & distracting at worst.
It all remains within the contention that over pandering to fan demands/expectations can lead to a creative deathspiral for creative work because you, as a creative entity, are no longer controlling where your work goes but eternally responding to the whims of a vocal but very fickle few.
Maybe there will be a grand pay-off with the Hound’s return. Maybe it all threads together vital pieces of the story & direct us towards a glorious end. Yet his reappearance does not speak of confidence within the current format of the show. That the individual pieces have the strength to stand upon their merits & there is a wanting of faith in how both the season & show may conclude.
Yet this writer does find Rory McCann layered portrayal of the Hound enjoyable, given an emotional depth rare to how such a violent & unforgiving character is usually depicted upon our screens. So there is some measure of assurance that the Hound’s return is a portent for a strong series ending rather than a horrid death-flails of a program the showrunners & writers are losing faith in.
Title: Persona 3 The Movie: #2 Midsummer Knight’s Dream (Gekijoban Perusona 3 dai ni sho)
Genre: video game adaption, action, drama, mystery, supernatural
Series Creator: Altus
Series Director: Tomohisa Taguchi
Studio: A-1 Pictures
Original screening date: June 7, 2014 (Japan)
Reviewed format: high def download with fan subs
Immediately following the events of the last film, Yuki Makoto and the rest of SEES team are making headway in their battle against the Shadows & the Dark Hour but 3 strangers with similar powers confront them, making them question whether or not they want to truly destroy the Dark Hour & give up all that makes them special.
In my critique of the first film, I recall that I was fairly harsh with it because it lacked any proper development of scenario & characters, wasted potential, threw in too many aside references to the original games, et cetera. Well, the 2nd game pretty much does that but also adds in a ton more sexualised Fan Service for good measure.
That is being a little unfair, because the 2nd film does have more character development -especially for the Tabula rasa protagonist Yuki Makoto- as well as bringing other characters into the fold -such as the reluctant & angry Shinji & the broken young boy, Amada Ken. More importantly it introduced the protagonists of the 1st arc, Strega, to set up a sense of tension. It also brings in the other Tabula Rasa character, the combat gynoid Aegis, who’s raison d’etre is to be close to & protect Makoto, yet no one does not understand why.
Raison d’etre becomes the key theme for this film.
Why characters do what they do, what do they fight for, do they have any other meaning to their lives aside from wielding their Persona against the Shadows & so on & so forth.
Raison d’etre should not encapsulate a character as a whole but should form the basis from which they grow & change over the course of the story. They should question it; reflect upon it; fight those who challenge it; any number of things but all within the context of “why?” & “how?”.
Unfortunately, this is where the movie -like it’s predecessor- fails.
It sets up a few characters’ raison d’etre but it does not challenge or evolve them. It gets stuck at the stage of questioning reasons & motivations but it never moves passed them.
A less cynical critic might say that this is so they can push the character development in the next film but a cynic such as I will just say it’s a waste of potential.
This is because the movie already wastes so much potential & screen time by sticking the date formula & showing Makoto doing his Social Links in montage, when it could’ve been using the same amount of time actually developing the bonds & relationships between the characters & establishing their individual motivations -more so for Aegis & Makoto, who are hollow reflections of each other. You get some token development from Fuka, saying that hunting Shadows is all that she really has because her parents only care about her academically & you get a little from Junpei as he seeks to grow from being an idiot. Yukari also gets a brief moment on centre stage, as she comes to terms with her personal connection with the disaster which created the Dark Hour but all of those moments are rushed over for the sake of fitting into the time limit.
My main complaint & critique from the 1st film carries over in: in that these movies really should’ve been a 25 episode TV series. This meant you could stick to the rigid video game date formula but you also get character development.
Most of the development in this movie is for the newly introduced character of Amada Ken, the orphan boy who found that he can wander around the Dark Hour. His exploration is done in relation with & contrast to Shinji, who made an appearance in the 1st film as a former SEES member trying to escape his past. Ken & Shinji’s fates are intertwined because of the events that orphaned Ken & caused Shinji to leave the SEES but they really aren’t developed enough to have the emotional impact that the director seems to have been aiming for. Again: this is an issue with the format & trying to cram two entire character arc into a space of 50 or so minutes (the time the characters have in the film, not the total running time of it) instead of spreading it over 4 or 5 22-minute episodes.
That, in a nutshell, is still my greatest gripe about the film series as a whole. Since they stick to the game formula of following events & day, you either lose too much or connections & development just doesn’t happen. Makoto is still case in point although he has progressed more along then in the previous film, he still is a character who basically does nothing but everyone puts faith in. He’s the opposite of what Yu from Persona 4: The Animation became. Makoto still exists only as a player character but since we aren’t controlling him, we can’t invest ourselves in his struggle to understand his motivations & why he’d destroy the only thing that gives him a sense of connection to those around him. If you don’t give the audience something to understand & invest in, they won’t. Adding another blank character like Aegis doesn’t help because Makoto doesn’t use her as a reflection as should be the case.
The animation in this film is a touch better than the last but it’s still very murky & mucky to look at. This is partially because the majority of the action takes place either at night or during the Dark Hour -which twists things, giving them a festering alien feel to it. But it’s all for naughty if you can’t really see what’s going on. When you have something with scenes that dark, you need to have bright open scenes to perfect the juxtaposition of them, enhancing both. This is yet another critical failing of film. Of equal fail is the lack of clarity in the action scenes, where the combat becomes a bit of a mess. There are some nice individual battles, such as Aegis stepping in to save Makoto & Yukari from some Shadows but any group combat fails to look in any way good.
In the end, this second of I think 4 films makes so many missteps on top of failing to address the ones that it made with the previous film. It’s a huge let down for all but the most devoted fan but even they might find it a little disappointing after the bright, vivid glory of two Persona 4 anime series. It’s not a bad watch but terrible if you have any expectations for it what-so-ever.
The 1st few episodes of the series is all about extreme dehumanisation through violence, degradation, sexual assault & humiliation & turning a joy-filled girl into a terrified non-entity & eventually an effective killing machine.
This is all done through the worst forms of visual denigration seen outside of BDSM hentai media. In that basically the titular heroine, Ange, is beaten, stripped, abused, molested, pseudo-raped, near (lesbian raped), degraded, deprived & humiliated until all that remains of the once happy is mistrustful sociopath who is only looking to survive & get revenge on all those who destroyed who she once was.
The reason that I didn’t condemn this series like I previously (& briefly) did with the aforementioned Kenzen Robo Daimidaler) is that all the degradation has a narrative context. It exists for a purpose outside of the titillation of the (majority male) audience. That does not mean that I liked or approved of it but I understood why such acts were within the story. I did not forgive or tolerate Cross Ange for that, more like I endured it. I put up with all the nasty Fan Service & brutality because it seemed to be leading to a point of character & narrative development & had shown that dehumanisation within context shows how terribly people can be transformed &/or destroyed.
And then the series committed the Cardinal Sin of entertainment: it bored me.
At some point, all the development suddenly stopped & Ange was stuck as this angry, untrustful, violent creature who constantly had Tusk (the male love interest) constantly falling into her crotch for comic effect or otherwise getting sexually entangled with her. The Fan Service (in the form of revealing clothes, hinted nudity & lesbianism) dragged on & got worse & the plot just got itself tangled up after they began to (finally) reveal what’s going on within the narrative universe.
The basic conceit of the series is that humans live in a Utopia where “The Light of Mana” fuels everything & grants people magical abilities. There is no war or poverty but it all comes at a price. For within society there are women who can’t use The Light of Mana, called Norma (taken from the word ‘normal’) & there very touch actively destroys any magical field. They are scapegoated by the rest of society, degraded & hated as being violent creatures who wish to destroy the world. So as soon as they are found, they are taken from their families & removed from the world. Naturally, Ange (formerly Angelise), being the ruling princess hates them, so is in denial when it’s revealed that she’s secretly a Norma & her parents have been keeping that fact a secret from not only the kingdom but from Ange herself.
After her father is deposed for hiding the secret & her mother is killed trying to protect her, Ange is taken to the Norma prison, where she is molested, sexually assaulted & humiliated by the commanding officer of the Normas & told that she must fight the DRAGONS or die.
All the Normas are put into transforming mecha units to fight dragon-like creatures, for which they get a bounty for each confirmed killed to use on whatever they want to buy within the prison. Having never committed an act of violence before, Ange is terrified of being thrown into such a situation & her cowardice costs her team several lives. Being humiliated & isolated by the other Norma girls, Ange rebuilds herself as a vicious killer in order to humiliate those who humiliated her & eventually gain her revenge.
This character arc changes after a few episodes, when Ange begins to accept that she’s a Norma & that Normas aren’t as she was taught growing up. Being a Norma is a self-fulfilling prophecy, in that they can only become violent & anti-social because that’s what society turns them into. They are the weapons in a war that the rest of humanity is completely unaware of & one that means they can keep using their precious Mana-imbued powers.
Once they start revealing the nature of the Norma, the history of the world & the truth behind the DRAGON attacks, things start to get muddled & vexing in a form.
You’re presented with all this info as to why you’re meant to see how the dehumanisation of the Norma occurred but Ange remains a basically unlikeable & selfish character that you find it hard to support her when all of her actions are contradicting others & she keeps denying information presented to her even when the facts are to her benefit.
That becomes the problem when dealing with a narrative around dehumanisation.
It’s exceptionally easy to break a person down but it’s next to impossible to rebuild them again from that point.
I feel that’s the major problem with Ange as a character and with the series as a whole.
After spending the 1st half dozen episodes ripping Ange apart -mentally & physically- they don’t really try to rebuild her as anything other than angry & mistrustful.
I didn’t want her to return to normal, not being any mental, emotional or physical scars -because trauma is inescapable- but I did want to see her develop into someone who takes their pain, their scars & their hatred & channels into into a positive force for others.
Maybe it does go that way, I won’t know because I lost any & all engagement with it around episode 16, when they crossed over into the ‘real’ world & the truth of the DRAGONS was revealed.
From this point on, I could bang on & on about the extremeness of the hypersexualisation within the series or how the Fan Service was so blatant that it became numbing but that would be pointless. That dead horse has been flogged so long it’s not a bloody pulp beneath my mighty boots (guessing no one will get those references).
I might come back to this when they release the blu-ray version but unlike considering the back catalogue I still have to watch (over 2 terabytes on computer & dozens of DVDs/BDs).
So, lessons to take from this: dehumanisation is OK if it has narrative context & purpose & isn’t glorified in any way, shape or form; don’t bore the audience or they won’t go with you to the conclusion.
Oh, & don’t bother messaging me with your butthurt over how I didn’t like this series when I did or how you feel that it’s nothing like I depicted with the dehumanisation & so forth because I will ignore you. If you try to defend your masturbation material in the series like others have with other series I dislike, I will insult you until I get bored.
Title: Sword Art Online II
Format: TV anime
Genre: sci-fi, fantasy, cyberpunk, action, drama, harem
Series Creator: Reki Kawahara
Series Director: Tomohiko Ito
Studio: A-1 Pictures
Series length: 24 episodes
Original Airing dates: July 5 – December 20, 2014
Reviewed format: high def download with fan subs
“After putting an end to the SAO incident in 2024 and rescuing Asuna in Alfheim Online (ALO), Kazuto Kirigaya finally returned to the real world to resume a normal life with his friends once more. However, when a string of deaths begin occurring in connection to a virtual reality game called “Gun Gale Online” (GGO), Kikuoka Seijiro of the Ministry of Internal Affairs enlists Kazuto to once again don his character “Kirito” and enter the virtual world to investigate the cause of the deaths. While meeting new allies, Kirito may be faced with his most dangerous challenge yet—a player known only as “Death Gun” with the ability to kill a person in the real world by killing their virtual avatar.”
After watching the 1st 14 episode story arc, I was really worried about the direction Sword Art Online was going with its 2nd much anticipated season. I was worried that it would be nothing but annoying fan service & further building of a harem around a twat (Kirito) to rebuff the slightly yandere women who flock around him in favour of the one whom he truly loves (Asuna). The 2nd (mini) arc didn’t improve my feelings about the series because it did nothing & went nowhere in the grand scheme of things but the 3rd arc was what truly changed my opinion on the season. Bringing to the fore the complex emotions that the 1st arc had struggled with between the cleavage & box shots.
I’ve always wavered with Sword Art Online -through its 1st season & the fan-translated Light Novels – because it so quickly goes from awesome action, exciting tension & emotional outcomes to kinda drab design, boring situations & infuriating levels of fan service. The 1st arc of this 2nd season pushed both of these extremes by trying to blend hyper-kinetic action with a sniper’s paitence & dealing with psychological issues like PTSD with very unsubtle use of the Male Gaze.
The 1st arc (episdoes 1-14), also known as the Death Gun Arc, truly is a mixed bag but one that ended with more of the cheap sweets than the party favourites for me.
The primary focus of the Death Gun arc is Kirito & new character Sinon coming to terms with taking human life -with Kirito having killed several people whilst trapped in Aincrad (1st season, 1st arc) & Sinon for shooting a bank robber with his own gun when she was a child, which has turned into an extreme form of Hoplophobia that her classmates use to bully her with.
Basically, if she sees a gun or a gun-like object (even people holding their fingers up like a gun) she has an extreme panic attack https://en.wikipedia.org/wiki/Panic_attack to the point of almost collapsing. In order to overcome this trauma, her classmate Kyoji (who has an unrestrained boner for her), suggests that she joins up with the Virtual RealityMMORPGGun Gail Online (GGO for short) which uses virtual representations of real world guns within it (instead of the fantasy weapons of other games).
This brings up a few issues for me right away. The 1st being that why would her fellow students bully her over her trauma if they knew it was linked to her actually killing someone? Surely if people knew that she gets panic attacks from even the sight of a fake weapon, they’d have been told why that is, surely? The stigma of murderer or even accidentally causing a death is heavy in countries like Japan, so rumours would’ve followed Sinon like a stench. So, surely if others got wind of it, they’d avoid her as much as possible out of fear she’d go & murder them.
The other issue I have comes from the ret-conning of Kirito to having killed more people & suffering psychological trauma from repressing those memories. My issue with this is that he was pretty willing to kill in the 1st season in order to save those whom he cared about (because if you died in SAO you died in real life) & was happy to slaughter the virtual constructs of real people in ALO (1st season, 2nd arc) yet entering GGO & being confronted by someone who might be a VR ghost from SAO (Death Gun), Kirito is suddenly shaken to his core over his past actions.
Now, I’m all for a protagonist actually suffering psychological effects from their previous actions but they still have to make sense in context. It’s pointless to throw them up so long after the character’s been established just to add a new layer. It reeks of laziness & trying to shift a new focus that could’ve easily been done before or with another character.
Kirito’s trauma exists for two reasons: the 1st is to bond with Sinon & get him to win her over as an ally, as well as have her overcome her own trauma; the 2nd is up the tension with the antagonist Death Gun -who, in my view, is frankly completely uninteresting.
The reason for this in my view is twofold: the 1st being that there is too much build up to Death Gun being a threat without actually showing you what kind of threat he represents. It’s the classic issue of “Telling not Showing”. We’re told that Death Gun’s presence is enough to shake the usually unflappable Kirito but because Death Gun hints at some connection to Laughing Coffin (the murder guild from SAO I) he’s shaken to his core because it reminds him that he killed 3 or 4 members of them out of self-defence (or the defence of others). There is no real hint of Death Gun having skills that can rival Kirito’s until the end of the arc & then it’s all technobabble & Pop-Psychology jargon. The 2nd reason is that I already knew who & what Death Gun was from reading the original Light Novel.
Which in & of itself is a problem. Not the foreknowledge but the fact that they didn’t attempt to twist it around. Even the twists & revelations as to who Death Gun is & how he could commit murders in real life comes with no real sense of threat or menace. It’s just built up & then partially enacted after Kirito & Asuna (who is watching the live feed of the GGO tournament Kirito & Sinon are in) figure out the real world connection to their 2 years trapped in SAO.
Death Guns’ basic motivation is being unable to readjust to the real world from the virtual -especially after they took part in so many real life murders from that virtual space- but shifts to being acknowledged by Kirito because their own existence was never truly recognised by anyone in the real world. The means & methods of their murders are interesting but lose utter impact when so casually deduced by Sinon & Kirito whilst they are still in game. Again, this all comes back to the issue of being Told & not Shown. We are TOLD throughout the arc that Death Gun is a serious threat, both within & without the virtual world but once the rules of their murders are established, all threat is gone. This is primarily because unlike the very 1st SAO arc, there is no threat to life until Death Guns’ criteria are met so any fear of them is left as a narrative conceit rather than a genuine danger.
This is an inherent problem when dealing with a series based around a virtual world where people’s consciousnesses are projected into a computer generated avatar. When you have a lack of threat to a physical body, the risk that a character incurs has no emotional impact upon the viewer because there is no consequence upon the character. SAO I addressed this fairly well by having that if your virtual self died, the Nerve Gear system that creates the virtual experience fries the users brain, killing their real body. The 2nd arc of SAO I as well as the 2nd series negate this threat by having everything only virtual but try to have Death Gun seem like a creditable threat to one’s own mortality. Yet his comes off as clumsy & al threat is diminished once Death Gun’s MO is established.
This lack of tension combined with the Pop Psych version of mental trauma really detracts from the positives of the 1st arc -which include incredibly well rendered action & beautiful animation- but what true destroyed it was the blatant fan service & my usual bugbear: hypersexualisation.
Sinon is the typical victim of this, as she wears very tiny shorts that shows a lot of butt cleavage & the camera tends to linger in sicken Box Shots (my term of camera focussing on the female pubic mount -AKA the Box). This really destroys any attempt to build Sinon as a round character with a sense of power & agency of her own. It also doesn’t help that every time she tries takes a step forward towards self-empowerment she’s dragged back to being physically, emotionally & almost sexually dependent on Kirito to find her strength rather than develop her own sense of self, using her admiration for Kirito as something to build upon. It also doesn’t help that Kirito’s in game avatar is exceptionally pretty with long hair, so I confused for being a girl -especially by Sinon when they randomly encounter outside of the combat zone for the first time. The problem with that part of the arc is that instead of using it to address typical gender roles online, Kirito embraces some of the worst aspects men pretending to be women in games so he’ll be let off easily in a MMORPG that he’s entirely new to.
The only saving grace of this whole arc is the resolution of Sinon’s issues. After she discovers who Death Gun is in real life & is confronted by them, she resolves to make herself better. Kirito, Asuna & the others from the ALO guild help with this & Sinon is introduced to the woman she incidentally save when she killed the robber & the woman’s daughter, whom she was pregnant with at the time of the incident. Sinon realises that her actions had positive consequences & vows to forgive herself, moving on with her life bit by bit but also dealing with those who bully her by showing her resolve in facing them. That she no longer has to be saved, that she can stand on her own two feet to be strong.
Naturally, she still wants Kirito’s cock, which puts her in mild conflict with the rest of the harem but this is basically resolved in the 2nd mini-arc.
To be honest, I’m not even really going to talk about the 2nd arc Excalibur (eps 15-17). It’s basically filler where the characters are stressed about something that only threatens their virtual worlds. There is no real world consequences or issues at hand. Just an excuse for action & some lame humour.
The 3rd arc (eps 18-24) is the saving grace of the entire season & marked an incredible turning point & maturity for the franchise as a whole.
The arc -referred to as “Mother’s Rosario”- focuses primary on Asuna, who I find a bit more of an interesting character. Unfortunately in the 2nd arc of the first season, she was reduced to a basic Damsel In Distress who feel victim to some tentacles (which made me scream at the telly) but the 1st arc of that season really fleshed her out as a character. Talking about her background with all the stress & expectations that her rich family put on her as well as her inability to decompress herself -which is why she delved into the VR MMORPs.
The SAO II’s 3rd arc is a continuation of these; where Asuna is being pressured by her strict, over-achieving to leave the school she attends with the other SAO survivors who need to catch up on the 2 years that they missed with their education. Naturally Asuna is opposed to this because of her love of Kirito & wanting to do something for herself but she can’t say no to her forceful mother.
Lamenting the life they had lost in SAO, with the private house she owned with Kirito & lived in with their adopted computer program daughter Yui (long story), Asuna is told that a replica of that zone from SAO will be part of the next ALO update. Her guildmates vow to help her get her precious place back & once she has secured the house for herself, Kirito & Yui, she’s told by a guildmate about a mysterious player called Zekken (Absolute Sword) who is challenging other players to duels. Zekkan is supposedly so good that they defeated the previously undefeated Kirito. Asuna wonders if Zekkan could be another SAO survivor but Kirito dismisses this by saying if they were, they would’ve beaten the game, not him.
To Asuna’s surprise, Zekkan is actually a young girl named Yuuki, who is looking for someone strong enough to help her guild -The Sleeping Knights- defeat a high level boss with only a few players (because boss raids typically require dozens of players to win) so they can leave their mark on the Player Monument & be remembered into the future.
Asuna proves her worth & joins The Sleeping Knights but, even though they are friendly, they keep her at arms length. She proves herself of them by helping them (with Kirito & guildmate Klein’s assistance) get past a large raid guild who used the info the Sleeping Knights acquired to try & defeat the boss themselves before anyone else can. After bonding in combat, Asuna is dismayed that she’s rejected by the others in the guild because they’ll be disbanding soon but isn’t told why. After accidentally calling her “onee-chan“) (sister), Yuuki freaks out & leaves the game before Asuna can do anything.
The reason for this distancing even though they had all become close during their time on the raid forms the emotional crux of the 3rd arc & of the entire franchise as a whole.
Each member of the Sleeping Knights suffer from various life threatening diseases -such as leukemia & other forms of cancer. They are set to disband because many fear that they won’t live past the coming Summer & want their last memories together to be joyous ones, where they leave their mark on the virtual world because they can no longer do the same with the physical one.
Yuuki has it worse of the entire, being in the late stages of an anti-viral resistant strain of HIV/AIDS that she acquired in utero & has spent the past 3 years inside of a virtual reality machine in order to placate her increasing pain.
She pushes Asuna away, thinking that she wouldn’t want to be with someone who’s dying as well as to spare her the pain of dealing with her inevitable death. Yet Asuna refuses to be cast aside from someone she grew found of (being an only child from an emotionally fractured family & all), so she helps Yuuki reach out to the outside world via a machine that Kirito was developing for Yui to use.
This allows Yuuki to return to school, even if she’s just a disembodied voice through a small camera lense, but quickly finds Asuna’s class (all SAO survivors) supportive of her, same with the teaching staff. Being on Asuna’s shoulder also allows Yuuki to find some closure in the real world, such as with her old family home which has become abandoned (the rest of her family all having died of AIDS related illnesses).
Her time with Yuuki & seeing how she faces her own fragile mortality gives Asuna the strength to finally talk to her mother, putting her own cases forward to why she should be allowed to make her own choices. Especially in regards to being put into an arranged married (the last one with an utter psycho who kept her trapped in the virtual world in SAO I’s 2nd arc) & going to a prestigious university simply because it will make her parents look good.
This can of growth seems more natural & fleshed out then simply having Asuna grow through violence. Her connection with & emotionally attachment to Yuuki is nuanced & exists upon multiple levels (despite what the hentai arts depict on various websites); showing genuine sisterly affection & connection between two people who thought that they would never be able to find a bond with anyone due to their respective lives. Whilst the arc is still action driven, it takes a comfortable backseat to the emotional journey of the characters. This driver is found to be much more satisfying then the emotional exploitation of trauma in the 1st arc because it acts as a catharsis for anyone who has suffered a linger loss. Whereas trauma is usual specific to the individual & hard to get across in a realistic fashion without being manipulative, grief & loss are universal, things that everyone experiences in their lives no matter who they are, where or how they live. Death is the only thing that truly unites all of humanity across the Gulf of Time & this is something that the “Mother’s Rosario” arc expresses truly well. In fact, I’m finding it difficult to write this part now, because I got the news today (21/01/2015) that a dear friend of mine died suddenly & I never got the chance to say farewell -such is the all-encompassing nature of grief.
The true emotional kick to it all comes with Yuuki’s final moment.
Seriously, it’s nigh impossible to make me cry -be it with stuff in real life or the manipulation of fiction- but I was genuinely fighting back the tears as I watched Yuuki’s end.
She had resolved to die alone but being able to touch Asuna’s hand gave her the courage to enter the virtual world one last time so they could say their farewells face to face. With her life fading, Yuuki is not only comfortable by Asuna but her friends from the Sleeping Nights, members of Asuna’s guild & a 1,000 representatives of all of the players in ALO who acknowledge that Yuuki was the strongest player who ever way & that she would always be remembered.
At Yuuki’s funeral, Asuna meets with one of the members of the Sleeping Knights, who’s friendship with & admiration for Yuuki helped her overcome her leukemia & strive to live her life to the fullest. A vow that Asuna also makes in order to achieve her own happiness & do all the things that Yuuki could not in her short but impactful life. This is because Yuuki always questioned why she was born if she was cursed from birth to die horrible from her disease. Yet she comes to see that the meaning of her life was to be able to make the connections that she did & live the life that she had, even if it was brief & almost entirely virtual, because being able to meet people such as Asuna give not only her own life meaning but brought meaning to those around her, who found the strength to carry on through just knowing Yuuki where they would otherwise have given up to their so-called fates.
The final twist of the series comes from the fact that the technology that prolonged Yuuki’s life & helped her find its meaning came from the same man who trapped hundreds of people in SAO for his own experiment -Akihiko Kayaba. This deepens the question as to what where his true intentions with the events within SAO for 2 years as well as the future of the virtual world (as well as leaving things open for the Underworld Arc in a few years time).
Ultimately, by ending the 2nd season with Asuna & Yuuki’s emotional journey together, the director & production team more than made up for all of their missteps during the 1st two arcs. It was great to see an anime treat someone suffering from such a terrible disease with true dignity & humanity -something which so many forms of media fail to do without going entirely po-faced or resorting to extreme emotional manipulation. The rarity of both the subject taken serious in any media as well as the respect for the characters suffering becomes entirely uplifting, even inspiring to a degree.
It was really a surprise from a season that started with the basis of harems & fan service to be able to soar so high & hit so hard with their last 6 episodes is truly fantastic. I hope it serves as an example to any future series that you can have a story that is both emotional & positive in its negative resolution because the subject is handled with dignity & compassion. I’m glad that I stuck with it all to the end & you will be too, even if you struggle with the early stages. The reward for seeing the season to its resolution goes beyond words; it’s just something that you have to experience for yourself. So I hope that you do.
Title: Akame ga Kiru! (Akame ga Kill! Akame Slashes!)
Format: TV anime
Genre: Shonen, fantasy, action, pseudo-harem, gore
Series Creators: Takahiro & Tetsuya Tashiro
Series Director: Kobayashi Tomoki
Studio: White Fox
Series length: 24 episodes
Original Airing dates: July 6, 2014 – December 14, 2014
Reviewed format: high def download with fan subs
“Tatsumi is a fighter who, accompanied by his two childhood friends, sets off to the Capital in search of a way to make money to assist his poverty-stricken village. After being separated from his friends, Tatsumi not only fails to enlist in the army, but is swindled out of all his money. He is then taken in by a noble family who offer him help, but intend to torture and kill him, just like they did with his friends and dozens of other people. Tatsumi is rescued by a group of assassins known as Night Raid; who are also part of the revolutionary forces assembled to overthrow Prime Minister Honest, who manipulates the young emperor for his and his men’s personal gain, leading the rest of the nation to poverty and strife.”
In my view, Akame ga Kiru! is one of those rare series that takes established genre tropes and not only subverts to a degree but comfortable balances them with other common & uncommon elements -such as humour, emotion, fan service & extreme (& I do mean extreme) violence.
This delicate balancing act is the key strength to the series -but it is also its greatest weakness to a degree- as it takes many of the ideas of your typical Shonen narrative -such as ideas of justice, self-empowerment, overcoming more powerful opponents through strength of will & ignoring powerful female characters- and skews them into something basically other to the narrative norm.
Primary to this is the central protagonist, Tatsumi, who seems like your typical Shonen manga hero. In that he is idealistic, naive & stubborn in his beliefs. The way that he is set up in the beginning, as a teenager coming to the capital to meet up with his two best friends so they can make enough money to save their village which lies along the farthest boards of the empire. Even though he is rejected for the army, swindled & exposed to the corruption of the capital, he maintains his naive idealism & is eventually taken in by a young noble woman who promises to help him find his friends and get into the army with her father’s connections. When the noble girl and her family are targeted by the assassins, Night Raid, Tatsumi does his upmost to protect the girl he believes to be his saviour -even going blade to blade against the titular Akame- but when it is revealed that the girl and her family tortured & killed his friends for their own sadistic pleasure, he shows no hesitation in being the one to kill her where she stands.
This juxtaposition of being naive morality and responding to the harshness of reality is what makes Tatsumi -& the series as a whole- interesting. Because even though he wishes to be moral, freeing the citizens of the empire from the corrupt tyranny of the manipulative Prime Minister -ironically named Honest- he is aware of the practicalities of achieving this. He accepts that he must become a murderer -even if the people killed are the worst humanity has to offer- but he does not let such darkness cloud that what he does is for an ultimate good. Yet a good that must always come at an exceptionally high price as people will suffer & die, even if you have the power to stop it.
The majority of the characters are also subversion of the standard genre tropes & cliches -for the most part that is.
They often fall into the typical archetypes that we come to expect -such as the unemotional one, the tsundere, the perv and the homo (how they refer to him in the series)- yet, for the most part, the characters are given context as to why they are like they are and are even given a change for develop, so that they have an arc to journey. What gives another good twisting to convention is that this development is also offered to the major antagonists of the series -the Jaegers- so that they aren’t just cardboard cutouts being bad for the sake of it (for the most part that is).
While Tatsumi is the naive idealist who grows to accept his roll as a killer, he is never shown having the typical weakness of trying to spare his enemies or get them to see his point of view (such as Emiya in Fate/Stay Night). He grits his sense of mercy against having to do what is right in the situation, even if that means performing a brutal or underhanded act to win. He does gain more strength and power as the series progresses, as well as gathers a kind of harem around him, which are typical of the Shonen genre yet his development is never as clear cut as it would be in a more down the line (cliched) story like Bleach or One Piece. Since the manga is still continuing, the team behind the anime made an exceptionally brave way to resolve Tatsumi’s story arc, which was extremely unexpected & whilst a lot of people will be upset by it, I salute them for such a brave way of ending.
Tatsumi isn’t the only one who undermines standard Shonen characterisation, because his friends & enemies -whilst being cliched or archetypes at time- tend to have fleshed out backgrounds to explain their personality & behaviour.
The titular Akame seems to be the usual taciturn killer obsessed with food but because she was raised solely and brutally as an assassin she lacks social skills and she constantly needs to eat to fuel her incredible abilities; also: despite appearing utterly emotionless, she cares deeply for all of her comrades, even if Tatsumi can’t understand how she does this at first. The sniper Mine (pronounced like mine as in the game Minecraft) seems like your typical tsundere but her emotion and arrogance fuels the power of her Taiga (Relic/Imperial Arms) weapon, Pumpkin, which grows stronger the more trouble its wielder is in -as well as the fact she is a half-blood child, which meant she was ignored & bullied all of her life, so she uses her arrogance to hide her fragility. The lion-like Leone (see pun in name) seems like your typical morally dodgy hedonist, actually swindling Tatsumi out of all of his money when he arrived in the Capital, but she has an exceptionally deep sense of loyalty to her friends & believes in personally punishing those who commit the most wicked sins upon the innocent -acting both as Night Raid’s spy & powerhouse in a fight. She also has a softer side, caring for Night Raid, insisting that they all refer to her as “onee-san” (big sister), which Tatsumi dutifully does despite their 1st interaction. Lubbock is seen as your typical amoral pervert who’d do anything to see the female Night Raid members naked but he never lets himself fall for enemy tricks -especially those involving beautiful- because he will do absolutely anything for his beloved commander, Nijenda.
Unfortunately the two remaining characters, Bulat & Sheele don’t really get time to develop but do have interesting backstories.
Bulat at first is shown as the butch homo (the translator’s term for him) with flamboyant hair but he acts like an older brother and mentor to Tatsumi (who refers to him as “aneki”). Despite his pretty boy appearance, he is a powerful fighter who is trying to make amends for the slaughters he committed when he was a soldier in the imperial army. I would’ve liked to have seen him develop much more outside the tender tough guy/queer trope but, alas, media has no issue in killing off homosexuals or deviants.
Sheele isn’t deviant in the traditional sense but she also doesn’t get time to shine. She’s shown as clumsy, airheaded & a tad useless but one of the most brutal killers in the team when armed with her giant scissors (yes, scissors like you do Arts & Crafts with). She claims a neurological condition, a “twisting inside my brain”, makes her useless at everything life but fighting & killing. After saving her best friend from a brutal assault & near rape, she discovers her talent for murder, becoming an assassin before being recruited by Night Raid. Unfortunately she’s turned into a sacrifice to demonstrate the power & brutality of the series’ main antagonists, the Jaegers (German for Hunters even though Germany doesn’t exist within the series).
The Jaegers I find a really interesting set of characters, proving the axiom that for a series to work you must have deep, complex villains who are twisted reflections of the heroes. Each member of the Jaeger is given details on their backgrounds & time to develop on screen, with each not only mirroring Night Raid but also displaying the issues inherent within the corrupt Empire.
The Jaeger’s leader is the insanely powerful & brutal General (Shogun) Esdeath, who’s motto is “the strong survive and the weak die”. She also wields one of the most powerful Taiga in the series, the power to manifest ice in any shape or amount from out of nowhere. Her utter brutality lies in stark contrast to how she cares for her subordinates, even if she believes that if any of them die it was because of their inherent weaknesses (also blaming herself for not helping them overcome their weakness). She also wants to know what it is to be in love, falling for an undercover Tatsumi when he won a tournament set up to find her to perfect mate. Her devotion towards him boarders on the Yandere but she is shown to have genuine affection for him, even though he keeps trying to escape her.
The other really interesting members of the Jaegers include the flamethrower using Bols, who hides his face behind a gasmask & comes across as intimidating because of his huge, scarred body. Whereas, in truth, he is a gentle soul who cares for his team members, is a skill cooked & likes being as helpful as he can. He also has a loving wife & daughter but is fully aware of the atrocities that he has committed in the name of bringing peace to the empire -including burning an entire village to ash so to stop the spread of a plague. He knows that he will one day be judged & punished for the crimes that he has committed but that doesn’t stop him from being open & caring for everyone around him -despite his painfully shy nature & dark self awareness.
The other interesting member of the Jaegers is Seryu Ubiquitous but for opposite reasons as Bol. She’s utterly obsessed with justice & with becoming a Hero of Justice like those whom she idealised. Unfortunately those whom she idealised were either murderously corrupted -such as the Capital Guard leader Orge- or dangerously insane like Dr Stylish. Her version of justice is twisted & absolute, with no room for subtlety or reason; so she responses with extreme violence. Often using her dog-like Taiga, Koro, to devour the so-called “evil doers”. Her mentality is further twisted when Sheele severs her limbs at the cost of her own life, making her believe that “good” (herself) will always triumph over the forces of evil (everyone else). Though when she is introduced she is shown as your typical, bumbling & airheaded “ally of justice” type because that is what she believes herself to be. Except her mind is so twisted that even her comrades don’t trust her -especially Wave.
Wave is Tatsumi’s mirror. In that he is also naive & idealistic, believing that he must serve the Empire no matter how twisted it is. Because a righteous heart can heel any wound if they stick to their path. He isn’t entirely stupid, seeing the wrong doings enacted upon the populace -especially by other Jaegers (mainly Seryu)- but he still acts, along with Bol, as their anchor to normality & morality -especially for Kurome, Akame’s mentally-warped younger sister.
Both Kurome & Akame share many similar traits, such as insatiable appetites & incredible, inhuman fighting skills. Yet whereas Akame feels the burden of all the lives that she has taken, Kurome feels their comfort. More considering that her Taiga, Yatsufusa, can turn anyone it slays into undead puppets. Her sense of being abandoned, stemming from being separated from her sister & experimented on, shows through in the use of her weapon to keep those whom she loved close to her -usually by mercifully ending their lives or murdering them when she thinks that they’ll leave her. Her character arc is minor yet interesting in how she develops outside seeing herself only in relation to her sister, especially when dealing with people as emotionally open & supportive as Wave.
There are heaps of other characters in the series too but in translated many from an on-going manga to a 24 episode series meant that they often appear, are introduced & then killed off without much fanfare.
In fact, there are several aspects & characters from the original manga that are removed or completely changed to fit with the new format but this doesn’t detract from it. I actually like how they were brave to give a solid ending to an continuing narrative rather than leave everything up in the air for a series that may never come (oh, how you betrayed meHorizon In the Middle of Nowhere!). Whilst some may quibble with the ending, I felt that it fitted for the most part but do be prepared to have your heart torn out a little if you’d grown attached to characters.
As well as playing with narratives & tropes, this series is also exceptionally violent. Surprisingly so in fact if you’ve never read the original manga. With blood spumes & dismemberment par for the course. Often shown in unflinching & uncensored fashion (unlike the TV broadcasts of Tokyo Ghoul or Gokukoku no Brynhildr). Yet the series does flinch away from the more sexually violent aspect, such as hints of rape & molestation. This is a positive in my view but it does mean that they cut out one of the best mini-arcs from the manga, where naive girls from the country are brought to the Capital, spoilt for a day before being assaulted & molested then addicted to drugs until they die a brutal death. This segment is important to show how vile the Empire has become & the lengths Night Raid go to in order to dispense their brand of justice.
Yet, as it shies away from aspects of sexual assault & molestation, it still has a lot of blatant Fan Service. Which is many cleavage on display but occasionally taut male muscle for the ladies. The Fan Service is never graphic or ogling, never really lingering or shoving your face in it but it can distract from the overall scene and series. This was also an issue in the manga but felt more satirical there, whereas the anime just has the jugs out on display (although covered up in some aspect).
The Fan Service and Sexualisation aren’t deal breakers or annoying but they do feel jarring out of place at time.
The fight scenes are often exceptionally well depicted, with fast paced brutal action always centred so you know what’s going on. Unfortunately, it still falls into many annoying Shonen tropes, such as taking time to explain “Special Moves” and attacks as well as every character having a hidden “trump” (turumpu) card ability that they always expound upon during battle. I personally find this trope to be overused & very annoying but the fights themselves are bloody & enjoyable (bloody enjoyable you might say, gauffered laugh).
The series is also beautifully animated, with interesting anachronistic designs that juxtapose our modern with classic fantasy -especially in regards to clothing design. With Tatsumi & Akame both wearing what look like school uniforms. It’s also vividly colourful, using lots of scenery, such cityscapes & nature, but it does look all the same after a while because they reuse the same backgrounds a lot (cash saving measure).
Overall, I thought that this was a brilliant series that translated many of the positive & transgressive aspects of the manga to the TV medium whilst still maintain a delicate balancing act of using & subverting standard tropes & cliches.
Whilst it might not be for everyone, I still found it immensely enjoyable -especially with its tender moments and quick fire humour. Some may not be able to get passed the extreme violence with it’s rivers & fountains of blood or forgive it for killing off characters whom you’ve come to love but stick through it all before casting your judgement -just like I’ve done.
Title: Hitsugi no Chaika ~Avenging Battle~ (Coffin Princess Chaika: Avenging Battle, Chaika of the Coffin ~Avenging Battle~) [2nd series]
Format: TV anime
Genre: fantasy, action, steampunk, spellpunk
Series Creator: Ichiro Sakaki
Series Director: Soichi Masui
Series length: 10 episodes
Original Airing dates: October 8 – December 10, 2014
Reviewed format: high def download with fansubs
“After the events of the 1st series, Chaika, Toru & their companions are still searching for the remains of Emperor Gaz. But now Chaika is beginning to question her own identity as well as her mission. Spurned on by the mysterious Guy, Chaika leaves Toru & heads to a hidden island to recover the ‘Emperor’s Fortune’ & learn the secrets of her past. Toru, unable to abandon his duty as a saboteur & realising his growing affection for the mysterious girl, sets off the save Chaika from whatever dangers she may face -even if that danger is the truth of her own being.”
I vaguely recall not being overly found of the 1st season of this series when it screened earlier in the here. In fact, my review of it was rather blunt in my general dislikes of it -especially the unresolved ending- because of its rushed yet dragging narrative, dull visuals & loli fetishisation. In fact, re-reading my original review, I saw how nice & generous I was being towards the series as a whole. No idea why but that’s how it was.
Anyway, now we have a 2nd season of Chaika, which does bring resolution to many dangling plot points & backgrounds but it all feels meaningless in a way. No matter how it all resolves, it still feels both rushed & slow. The pace is broken, the characters flat & uninteresting & motivations as murky as some of the visuals.
What it does have going for it is resolving the mystery of the various Chaika who pop up & why the character Vivi was turned into a half-Chaika at the end of the previous series (at the shock death of her beloved captain who, surprise surprise, isn’t actually dead -yeah, who couldn’t see that coming except for mister thicko over there).
Going to go into SPOILER territory right here & say that our protagonist Chaika Trabant (AKA the White Chaika) isn’t actually the real Chaika. In fact: there never was a real Chaika. They were all orphaned girls programmed with magic & reacting to certain triggers to transform into Chaika. Each pre-programmed with various skills & reasons for wishing to gather Gaz’s remains. This revelation is spread out over the entirety of the series, making it the focus of it, unlike the haphazard “collect the parts” driver from the previous. Of course, Chaika (& Red Chaika) can’t accept this but central Chaika begins to question her reasonings & resolve to see her mission through -which in turn affects Toru’s resolve & motivations.
This should’ve been a big emotion kick & play but since the characters are so poorly rendered, it doesn’t do anything. The twists to whether or not Chaika is actually the REAL Chaika don’t matter in the end.
This is because the characters are so poorly rendered, cliched & two dimensional (aside from the fact they are traditionally animated that is) that nothing that happens to them matters in the end.
Add to the fact that the entire last few episodes of the series are rushed & clumsy because they only had 10 episodes to work with rather than the 12 of the previous series & because the source material is still going. They basically pulled an ending out of their arse but unlike Akame ga Kill! (Akame ga Kiru! -review coming soon), this one feels haphazard, inconsequential & relying on a sudden, stupid case of Apò Mèkhanès Theós using a typically emotive device that evokes no emotions & a boring Good Endcoda to finish that also does nothing to stir the heart strings because it is entirely riddled with cliché.
In fact, things that were once interesting become boring with explanation. Primary how magic is created & used within the series. I had complained that they didn’t really go into this in the last season but their explanation for magic & Emperor Gaz’s desire for it just seems so ham-fisted & half explicated that it becomes an entire waste of a plot point. More so with Gaz’s Treasure (also translated as Fortune) being a gundo (magical weapon) that then becomes a useless Apò Mèkhanès Theós is also a waste. Same with Gaz’s ultimate plot & resurrection, how he manipulated almost all events to achieve his goals. It was so all rushed & hand-waved through that I stopped caring.
A lot of the plot seems, again, both rushed & dragging. It had the grand ambition of wanting to philosophise on the ideas of war, human nature & what it means to be true to yourself vs. a task that you are driven to achieve but it just rings so hollow. All of these themes we have seen tackled in much better anime over the decades & it just gets stuck on such basic concepts. Mainly the idea that once someone has tasted war or conflict or been solely designed/trained for it, they cannot live in peace because they cannot change their fundamental nature. I personally find such concepts to be bullshit & utterly demeaning to those who have suffered through conflict & trauma. Saying that they can never find peace or cannot be happy unless they are killing. Some people do get trapped in such mindsets but there are those who can move on -especially when aided by others (such as I have done over the years with people I know with PTSD)
It also has to be mentioned how blandly this show is animated. There are so nice notes in the character design but the scenery & extra details are so fundamentally lacking that they might have well just reused any generic fantasy anime background. The fights are still fairly well done but lacking in excitement. The colour palate is dull, especially the toned down blood splatters.
The only good thing to note is the reduction in Fan Service & the (hyper) sexualisation of the loli-like Chaikas. They still have fetished appearances but so do most of the females in the series. I pretty much chose to ignore it this time around between it becomes “Sky blue, water wet” syndrome (stating the fucking obvious in other words).
In the end, I have no idea why I bothered with the series overall & curse my compulsion to find narrative resolution, even in things that I don’t really like or care for. Can’t recommend. Try the manga & original Light Novel, they actually look good & tell a better story.
After 12 month, 80 or so articles, 256 comments & over 20,000 views, it is time to summarise the 1st year of the existence of And The Geek Shall.
I started this blog a year ago today as a distraction from a bunch of academic & real life stresses that I was going through at the time as well as a way to get out all of the pent up ideas & rants that were bubbling away inside of me.
I began it with the intention of crossing it over with my academic work but that idea quickly fell by the wayside as people didn’t really understand my academic work (just like I in all honesty) & it wasn’t as interesting as just doing what I want.
Unfortunately this meant that I have let many articles fall to the side half or barely written, as I get swamped with things easily at the moment. This leaves the blog filled with weird critiques, ill-spelt rants & one post that MRA cum-stained scumbags appear to detest. Yet it does not bother me that I’ve slipped from the original goals that I set out with. Like Pokémon: most things evolve for the better.
Even so, over the past year I’ve managed to garner at least 20,000 views -which isn’t bad for such an oversaturated market. Would like to have had more comments from readers that didn’t end up being deleted because they were either too stupid or offensive to allow to exist (much like those who made the comments). Still, over the course of the last 12 months, it’s not a bad effort. Especially considering that I have spent most of my time bitching about hypersexualisation & similar topics.
My personal Pokémon retrospective has been the one to garner the most dedicated hits -which isn’t surprising considering how popular Pokémon is. I’ll probably end up exploiting this a bit more, mainly through seeking others to write about their experiences with the franchise. Possibly targeting new adherents to the games or those who never had a chance to play before for whatever reason.
So, I’d like to thank my regular readers & those casuals who float through for all the hits & those few comments left publishable. Over the next year I’m looking to add more Live Action critiques as well as general articles. Also have to finish off those half finished, such as my Firefly & Doctor Who ones.
Again: thanks for viewing & let’s work together for a better year in 2015 in terms of positive geektastic experiences.