Information

Title: Uta∽Kata (Lit Translation: Poem (Song) Fragment.  Bubble when merged)
Episodes: 12 (+1 special)
Producer: Hal Film Maker, Shaft (Sentai North American License)
Genre: Drama, Magical Girl, Fantasy, Romance
Recommended/Similar Titles: Shigofumi, Air, Puella Magi Madoka Magica
Review Source Medium: DVD 

Synopsis

On the last day of the school year, 14-year-old Ichika Tachibana comes across an old, busted mirror in an unused campus building. When Manatsu, a mysterious girl from inside the mirror, steps out and offers her friendship for the summer, she also offers Ichika magical powers. Now, Manatsu must help Ichika unlock the powers of the 12 Djinn in order to complete her magic training… but perhaps this is something that will prove too difficult a task. Some offers may appear to be too good to be true and this one just may turn out to do more harm than good.

Review

The mahou shoujou genre is one that falls into various maladies that keeps it from being compelling let alone relevant with most of its older audience members. With Uta Kata, a re-imagining of the formula, those common aliments have been mostly relieved as it takes fourteen year old Ichika Tachibana and her guide, Manatsu on a journey of hardships and trials as Tachibana learns about the best and worst of the world around her through the perspective of the magical Djinn that she must use. While the Djinn can grant Ichika the power of miracles, they also grant and teacher her about the darker side of life and the same that dwells in the hearts of humanity. Each Djinn centering around Seven Virtues and later as the series progresses, seven sins (inversions of the Virtues) Ichika is shown a momentary picture of the world and experiences these feelings for herself as she undergoes her ritual.

Over the course of twelve episodes as Ichika taps into the Djinn’s power for the sake of friends and self as required, but eventually in the later half of the series, uses them for selfish and malicious purposes; slowing erasing the Ichika Tachibana that hates to lie and works hard to someone she can hardly recognize. As it takes on various themes such as: eating disorders (one side effect for using the Djinn), child abuse, nature of life, and others; Uta Kata is anything less than emotionally compelling compared to others in its class. Dark and unconventional yet cute and covered in a sugar-coated facade, the series writing and superb execution is more like a beneficial aid to what presents. While it does still suffer from a few nuisances within the story (I.E: excessive foreshadowing) Uta Kata is well worth the minor trouble; especially when it comes to the heart of its finale that is culmination of all that is examined in the series. Her final trial in the series and throughout it, oddly resembles a coming-of-age ritual, but one for a new age.

Apart from Ichika and Manatsu, the other characters in the series also are quite interesting and play into the story’s themes rather nicely. Ichika’s circle of friends such as: Keiko Takamura (a good nature girl from a strict family), Satsuki Takigawa (tomboyish girl with a split family and aversion to specific guys from a childhood memory) and Michiru Munakata (a quiet and thoughtful girl with a weird link to the spirit world) act as both unknown proponents to the Djinn’s use and focal moral points in a few episodes as they go through struggles of unrequited love, nature of friendship, as well as the aforementioned and all matters of adolescent ripening. Ultimately, Ichika uses the experience gained from her friends as well as her mysterious tutors Sei and Kai (with their own related story) when it comes time for her final trial that results in a not so simple choice.

Hal Flim Maker acts as the leading production studio for the project, known for such projects such as: Aria, 3X3 Eyes, and Angel Sanctuary to name a few. The animation for the series is highly reminiscent of these previous titles, but also just as plain when it comes to show casing the animation and artwork together. However, the studio does manage to manipulate a few elements (light, etc) to give it a little polish. Nearly the same can be said for its soundtrack; that is nicely done, yet also somewhat static with most pieces ranging between a light and somber piano concertos and the rest between listless strings pieces and synthesizers. It’s neither good or bad, but it works.

Uta Kata is not exactly “glittering gold”, but fine nonetheless and worth watching if you are fan of coming-of-age titles fused with the mahou shoujo/supernatural subset and want to see it done somewhat different from the herd. It takes very dualistic doctrine to its storytelling, but not at all heavy-handed in presenting it. Shame its roundabout storytelling diminishes some of the bite that made it so compelling. Regardless of where it falls short, it refreshing to see Uta Kata do what it does and that is creating a very pleasant and contemplative series. A blending of the mahou-shoujou genre and dualistic underpinnings of life makes Uta Kata like how a good cake should be: appealing on the surface, yet flavorful and sweet underneath.

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Conclusion

Pros: Excellent writing, execution, unique re-imagining of a classic story archetype, interesting characters, nice exploration of realistic issues. (Recommended)

Cons: Static narrative, bland aesthetic use and choices.

It goes without saying that Utakoi is an aesthetically pleasing series with the creative prowess to boot, but not just in part to the visuals and writing alone. The other half of this remarkable beauty and wealth of skill lies not within the production values of the animation, artwork, or studio hands, yet it lies within the idea of the aesthetics themselves, such ideas that are closely interwoven into Japanese society as whole. The two key components that attribute to the beauty and grace that the series evokes stem from the aesthetic philosophies of: Yūgen, the profound charm found in the mysterious and subtle and Iki, the sophistication found in the original and ephemeral. While these two principles seem closely related; they both compliment as well as contrast one another in order to create the interpretation Utakoi brings to the romanticized birth of the Hyakuninisshu anthology.

Before I get to ahead of myself, I will briefly explain a little on Iki and Yūgen, since the two might seem more inter-related than different. Similar to my older post on Wabi-Sabi and its minor echoes in productions from SHAFT studios , Iki and Yūgen are actually smaller pieces of that aesthetic, 2 of 7 principles that actualize this idea. Simply put, the idea from Iki (what is prized being elegant and ephemeral) can be Wabi-Sabi (that which is impermanent and incomplete), however, Iki things are not exactly always Wabi-Sabi.  It is a contradiction, yet one that rings true for this idea in Zen Buddhism. Likewise, Yūgen that highlights the profound majesty in the delicate, also acts in relation to Wabi-Sabi in order to see the good and depth in that which can not be fully explained or might not seem whole. In addition, Yugen also acts important in describing the indescribable when it comes to critiquing waka poetry. These two principles alone contribute different advice, but together compliment and strengthen each other to represent a holistic view germane to the society of Japanese life and how these principles fit into everyday life. So how exactly do these two relate to Utakoi?

Thinking of Utakoi exactly as it is, an anime adaption that takes a inventive and broad-minded way to see the Hyakuninisshu poems fruition, it helps to remember that fair amount of it is covered in romanticized hyperbole and extravagance. For example: when Takaiko Fujiwara and Narihira Ariwara have their second encounter with each other than they have in years as secret lovers, and the famous poem Ariwara recites, the idea of Iki highlights the beauty on the surface of what Ariwara is referencing (the curtain), but by the magic of Yūgen, highlighting the depth of passion and time he spent with Fujiwara, they share a moment only they can; leaving all others just left in amazement to see the surface of his profound verse. This type of metaphysical conceit employed by poets in the west such as John Donne (one of my favorites) is akin to one example of how Iki and Yūgen can be seen, however, waka poetry seems to capture a charm and essences only it can. Likewise, a different function of the two principles can also exemplify their relationship, with the past years full of simplicity and unresistant (Iki) and the future years as refined, experienced, subtly, and cooled of lust (Yūgen). Due to the multiplicity of meanings that most Japanese aesthetics hold, one meaning can translate itself across many smaller ideas and hence, explain itself better with each individual meaning; and near close relation to the next. Many different poems of Waka such as:  tanka (short poems), katauta (fragmented poems), and chōka (long-handed poems) behave in a similar manner with regards to the aesthetic principles.

“Even when the impassionate gods
Held sway in the ancient days,
The water in Tatsuta River
Has never been dyed
Such an autumn red”

-Ariwara no Narihira

However, as much as Utakoi touts love (for the namesake title) and the ideal interpretation of the Hyakuninisshu poems, it is also much about different forms of love and the overall expressive aim. In the case of Sadaakira Shinnō compared to that of his beloved mentor, Narihira Ariwara; his poem seemed to fall short in the artful approach to coney his feelings to Yasuko, but he was able to do it in a honest and straightforward manner like Narihira explained the purpose of poetry was. From his youthful and rambunctious days; not necessarily Iki in design, the older Sadaakira was able to find his Yūgen moment in the cluster of his younger years and from Yasuko’s own willingness to learn to love him.

“From Tsukuba’s peak
Falling waters have become
Mina’s still, full flow:
So my love has grown to be
Like the river’s quiet deeps”

-Emperor Yozei

Of course, while this is only one envisioning of the Hyakuninisshu, it is thus far an amazing one that peers into the romanticized world of courtly love and hopefully, will do the same as it covers the feelings of those from all walks of life.

Bold, innovative, visually pleasing, and philosophically robust – Mononoke is Japanese anime horror done right and possible at its best.

Information

Title: Mononoke (Literal Translation: Unnatural Spirit)
Episodes: 12
Producer: Toei Animation
Genre: Horror, Mystery, Fantasy, Supernatural
Recommended/Similar Titles: Ayakashi: Samurai Horror Tales, Mushishi, Jigoku Shoujo, Review Source Medium: Digital Blu-ray (RIP)

SYNOPSIS

Mononoke is a spin-off of the Bakeneko story arc of Ayakashi – Japanese Classic Horror. It follows the Medicine Seller as he deals with various spirits or “Mononoke” in feudal Japan. Just like in the Bakeneko story, he combats with a series of tools and his vast knowledge of the supernatural on his side, but can only slay the Mononoke when he uncovers its form (Katachi), the truth behind its appearance (Makoto) and the reason for its unusual behavior (Kotowari).

Review

Spin-off series can be tricky to pull off, let alone spark enough intrest to be turned into a full length one. Although, if they turn out anything like Mononoke, then the effort to make it happen would be well worth it. Based off the Bakeneko arc; episodes 9-11 of Ayakashi: Samurai Horror Tales (its not required to watch, but suggested), it chronicles an enigmatic man known as the “Medicine Seller” with the power to slay wayward spirits called “Mononoke” with his mystical blade, but to do it; he needs know the truth, reason, and form of the spirits actions. The 12 episode series is broken down into smaller arcs, 5 in total that range from 1-3 episodes long depending on the arc. While the episodes feel fairly short and the process of the Medicine Seller seeming rather tedious through five standalone arcs, each arc and oddly, the overall series is quite refreshing due in part to the excellent mixture of both mystery and supernatural elements in the writing as well as execution that aids the in storytelling as the Medicine Seller resolves the various problems that plague the apparitions and people he encounters. Granted, while the series is tough to digest in one complete sitting, the engaging screenplay makes it hard to resist setting aside until each arc is done.

Speaking solely of the story arcs themselves, each as aforementioned is a standalone piece; containing its own specific characters and the episode title representing the Mononoke in question. While some arcs seem simple enough, I can not stress enough how well Mononoke makes use of all its elements in tandem and does it without breaking a sweat. Taking a more methodological approach to deal with the restless Mononoke, the Medicine Seller does not just resolve the problem at hand, but actively plays along, in which, shows off the execution, animation, art, and deeper themes of the series at work. Thanks to this unique and oddly vicarious directing style and storytelling, most the arcs and concepts presented are very relevant to the viewer and thoroughly make the series much more enjoyable. The opening Zashiki-warashi arc due to its open ended conclusion and the Noppera-bō for its uplifting end make for perfect examples as well as personal favorites of mine.

However, as much as Mononoke shines brilliantly through Kenji Nakamura’s directing (also responsible for “C” for Control and Tsuritama) and his scriptwriters Michiko Yokote and Ikukoe Takahashi, Toei Animation’s unique stylistic touches are the most notable aspects, but also blend in well with the series. Reminiscent to the traditional Japanese woodblock cravings, “Ukiyo-e” (and like their name suggest), Mononoke creates a floating world of its own that helps get across its philosophical waxing, but shows off its aesthetic charms. In addition to the visuals, Mononoke also has a powerful, yet subtle musical score as well; with most pieces returning back to traditional instruments such as the: Koto, strings, and woodwinds that make up the bulk of the tracks. Silence also plays a large role in strengthen the tracks and functions as music.  Yasuharu Takanashi is the arranger/perfomer for most pieces with REMI serving as vocals for most the background pieces.

From my own personal experience, I enjoyed the series and actually remains a solid favorite in my viewing list. Sadly, as much as I enjoy this title, it is shame – or should I say downright disheartening that very few series work along the same template. It might have been that Ayakashi: Samurai Horror Tales was the wrong vehicle for this to get noticed or not really relevant in what studios were seeking at the time, but it is hard to believe that Mononoke does not have more critical reception from both animators and fans alike. Despite its very slow and tedious edges, Mononoke makes up for it remarkable well with its strong and compelling storytelling, execution, and cutting edge, yet bizarre animation style. Among the handful of arcane titles I would recommend that “have to be seen“, then Mononoke would be include without a doubt. Bold, innovative, visually pleasing, and philosophically robust – Mononoke is Japanese anime horror done right and possible at its best.

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Conclusion

Pros: Unique storytelling, Unique artwork and animation, execution, sublime and innovative approach to the horror genre, engaging, nice soundtrack. (Highly recommend)

Cons: Minor repetitive and tedious storytelling process

While the Spring 2012 season of anime is far away from my mind, Natsuiro Kiseki with its magical realism template and tangible themes such as fulfillment and friendship still remain in my memories. For the most part, with its many layers and components, it makes me ponder what fulfillment really is and what is responsible for it as we grow up and live life. Maybe there are some deeper miracles in life I so desperately been doubting…

As Hoshiko so elegantly put it, the series in one breath does hallmark a message on the formation of precious memories, but add to this, I also believe that it also makes note on the issue of fulfillment with the time we are given and how that time will translate into memories. Throughout the series, the big rock with its supernatural feats to grant wishes acts as the fundamental key to the metaphorical house if you will be so kind to think of it in this fashion, but it is the girls that hold the real power to twist the knob, push open that door, and close it behind them. Using the events of when Natsumi x Saki became stuck together or when Natsumi was cloned, yes, it was magic that was the cause (no thanks to Yuka), but the ultimate issue lied within a problem that had to be fulfilled. In other words, Natsumi and Saki had to reconcile their differences and Natsumi had to recognize their was another way to play tennis other than on the aggressive front against an equally tenacious player. By fulfilling these issues magic was only a means to an end – an catalyst to bridge the issue and solution in order to bring it to an resolution. Magic was a support tool to fix these problems, but in all these situations, the girls had to fix their own problems, not magic. You can sort of think of it like a teacher giving guidance to a student in instructing, but instead making the student think for him/herself rather than solving the problem presented.

Besides the big rock and its magic holding a teacher to student relationship with the girls in the area of guidance, it also does the same with teaching the girls that not everything can be or will be fulfilled through the nature of magic. It is just like the main issue of Saki having to move away or the rainstorm that impedes the talent competition; wishes made to the rock or not respectively act in teaching the girls that their are even some things that reside out of reach from magic. So while the uneventfully does happen for both of these events, albeit the competition having a nicer endgame; the girls had to see an outcome in things that they could not influence, but in the process, oddly, things worked out for the better and fulfilled their wishes in both scenarios if you look at it in this fashion. Obviously, near the series end, with the wish to be “friends forever” even without the aid of magic, it will most undoubtedly come true despite the distance. However, with the act of seeing that magic is no cure all, their also might be the a lesson that miracles do indeed exist, but they can not solve problems – just offer interventions for them in beating the odds for that moment. An example of this would be the last two episodes in which the same day is repeated over and Saki would have to move. After all the events leading up to it, no amount of magic could remedy it and life would eventually have to move on.

Going back to the issue of fulfillment, overall, I think Natsuiro Kiseki tackles that message in more than one layer. For the most part and the most visible reasons than mentioned above, all the episodes showcased the girls enjoying life and fostering their friendship. Arguably, that could of been done without the aid of magic, but the memories that were made by it were all the more fulling and richer as a result. With the act of living and enjoying the time left they spent over that summer, it is very difficult not to say that everything they did was fulfilling, since it helped them grow closer together as well as grow up as individuals. Just like with in our daily lives, I believe that the people we meet, things we experience, and pathways we take in life; no matter their alignment ultimately serves to enrich more than subtract from life. Ironically, with summer being marked as ephemeral, evanescent, and always moving ahead; so do the girls lives and so is the way that we live. However, again, finding fulfillment and the joy makes each transient moment – each fleeting day worth living. This rings especially true when you do so with the people you love the most and care about.

Overall, Natsuiro Kiseki was a fulfilling slice-of-life series in its own right and one that helped me fall in love with genre all over again. It is not exactly bittersweet or sugar-coated, yet the flavor is just as palatable as any confectionery treat. Giving pause for the simple things we often dismiss in life, the series definitely does captures the essences of summer days long past for myself and doing more with the time that you have with the people you want to be with the most; whether it be friends or family and obtaining gratification doing so. In a sense, summer is all about this and more; while growing up and changing as the days go by. After all, you are only young once and might as well enjoy your youth while you can.
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Related Post

• SnippetTee talks about the application of magic with regards to series in her post.
• Kai’s post cross-checks my feelings about the series exactly right.

Class S relationships and pure shōjo-ai drama are basic staples of Maria-sama ga Miteru. Staples that are sublimely handled and well-integrated into such a pleasant title.

Information

Title: Maria-sama ga Miteru (Translation: Maria Watches Over Us)
Episodes: 13 (+7 specials)
Producer: Studio Deen
Genre: Drama, Romance, Shoujo-Ai, Slice-of-life
Recommended/Similar Titles: Aria, Aoi Hana, Strawberry Panic
Review Source Medium: DVD Boxset

SYNOPSIS

When Yumi Fukuzawa entered the Lillian Girls’ Academy, a prestigious all-girls Catholic school in Tokyo, she never imagined she would catch the eye of beautiful and demure Sachiko Ogasawara, one of the school’s most popular students. Now Sachiko has offered to be Yumi’s soeur, her “sister” and guide for all her years at the academy. The whole idea has Yumi completely flustered – after all, they hardly know each other!

The entire campus is abuzz with rumors about the two of them, but Yumi is conflicted over accepting Sachiko’s offer. While she admires Sachiko, being her soeur would also mean constantly being at the center of the entire school’s attention!

Review

For most viewers in the east, Maria-sama ga Miteru (Maria Watches Over Us In English) is one the most beloved and cherished series that sports an aura of refinement, grace, and visual splendor behind its melodramatic mask. Without a doubt, this rings true for such a elegant and straightforward title.

The premise for the series centers around the illustrious Lillian Girls’ Academy, a catholic school designed on the seour (french for sister) system, where a select few 1st year girls are granted a rosary by their seniors to become their petite soeur (or little sister). Yumi Fukuzawa, a new student is approached by one of the most popular and model students of the Yamayuri student council, Sachiko Ogasawara to be her sister, but Yumi is hesitant and yet, undeniably interested in Sachiko. Throughout the series, Yumi is introduce to her fellow Yamayuri Council mates in the Rose Mansion and all the while, learning what the bonds of soeurship entail and her own developing bond between her now grand soeur (french for big sister), Sachiko.

As honored as this series is, the first two episodes are rather bland and tedious to sit through. Examples include: massive info-dumping of terms without explanation, loaded to the rim with stifling dialogue, lines of relationships hard to follow (due to titles) and overall, just plain slow. However, after Yumi and Sachiko solidify their soeur bonds (and characters are properly defined), the series turns into quite the captivating and mildly engrossing watch as it unearths the various relationships of the Rose Mansion family dynamics; writhe with drama, touching exchanges, and the bonds that bind specific characters together. With that said, Maria-sama ga Miteru is an extremely character-driven series that well emphasizes the aforementioned in various capacities such as the: Yamayuri Council and soeur system itself, but also found in the spoken dialogue and unspoken gestures that the characters present. Everything that can not be expressed by the characters in words appears one way or another with subtly yet to great effective.

While Maria-sama ga Miteru is spot on with its solid characterization and execution of it, Studio Deen’s animation is a rather unjust compliment to it all: pitched together with lackluster backgrounds and shallow in detail to say the least. However, despite the neglectful quality in a few areas, it does not affect the series austere yet appealing aura and works very well in various others. This can further be attributed to its wonderful soundtrack selection aiding the mood (silence included) and voice acting cast linked to their respective characters. Fittingly, looking at it from this viewpoint, the aesthetic productions do seem to match up to the atmosphere series just fine and help justly define the series as whole than they do independently.

Personally, I found Maria-sama ga Miteru exactly as aforementioned: refined and charming.  It is exactly as it seems and nothing less. While it might not contain comedy (the specials a nice job of poking fun of the series) or any serious drama, it does represent itself well in the character and relationship drama arena. The cast of characters are fairly likeable (my favorite being Yoshino Shimazu of the Rosa Foetida family, petitte soeur to Rei Hasekura), well-written in dialogue (as overbearing as it maybe), and takes a very laid back approach to tie these elements and more together. To me, combing everything together in synchronicity like it does and making it stick, is what made the series a pleasure for me to watch.

By no means is Maria-sama ga Miteru perfect, but it is a breath of fresh air compared to other titles in its class. It carries itself with style and grace, puts it melodrama to good use (too well in various cases), and does it self a service of how it does things rather what it does. At any rate, their is more to commend the series on rather than condemn. This is especially true if you fancy a nice drama filled shoujou-ai series; minus all the baggage it usually comes with. After all, Class S relationships and pure shōjo-ai drama are basic staples of Maria-sama ga Miteru. Staples that are sublimely handled and well-integrated into such a pleasant title.

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Conclusion

Pros: Highly character driven story with interesting characters, nice control over its melodrama, subtly in execution, nice soundtrack.

Cons: Sluggish start (combined with jargon used), weak quality control in animation, use of melodrama (not for those that cannot stand it).

Ever once and awhile, from the usual known faces that visit my blog, I am also charmed and delighted to see new ones that comment. Most are fellow newbie bloggers while others are just plain commentators with the same love for all things anime, manga, and otherwise. And yes, they do in fact return. Thinking about this closely has lead me to question: Why or what is purpose for commenting? While it does seem to lend an interactive hand between the producer of content and the audience consuming it, I am sure their is much more to it than meets the eye.

Keeping my fellow bloggers in mind as both the producers of content and consumers of others, bonds are made relatively quickly based on not just content, yet also how the other responds. Or I would I like to think. When someone does comment with this dual functionally you hold, you feel compelled to do the same for them; whether you like the content or not; thus playing into the idea of reciprocity. In this case, reciprocity refers to a mutual exchange between blogger A for commenting and blogger B simply returns the favor in kind. Of course, if A likes B’s content and returns afterwards not feeling compelling for any other reason than interested in B’s content (and vice versa), then the reciprocity is balanced and still stands. It is just that simple…or is it? Because, let’s be realistic for a second, folks: 9 times out of 10 you are not going to exactly churn out interesting content. It is half the battle for most bloggers, but if you have people generally attracted to what you do, the same desired effect can be achieved through reciprocity as well as being active in the community. If you are confident you can churn out generally interesting content frequently without fail and ignore the aforementioned, allow me to congratulate you as a flawless human being. On the other hand, what is utter garbage to you could pique the curiosity of another, so this does have a few exceptions….

At any rate, reciprocity still does not quite explain why people bothering commenting at all regardless of what content is present. I do however have a general idea. In one respect, commenting with another blogger opens a channel of friendship and comradery; thus allowing you to spreading your name to other like-minded individuals that might enjoy what you do. Just like in daily life for work, school, etc – people increasingly form connections and build rapport in exchange for things like: recommendations, interviews, meet other individuals, and so on. Positive reciprocity between bloggers would look similar. Then again, their is a such thing as negative reciprocity, both sides in a mutual channel of understanding, yet only to solely try to exploit one another. Once again, this is something humans are well accustomed to by nature just like any other social creature. I see this less in blogging, but it does occur. However, between these two contrasting ideas, I solely believe (or like to at least) that people just comment to share their views and opinions on whatever comes to mind. Simple, yes, but does seem to be the most valid idea between any virtual settings or reality for that matter. Everyone has something to say.

Moving away from blogging for awhile into the area of forums, this idea could not be any farther from the truth. Looking at my usual stalked haunts of MAL, Biglobe, ANN, and various others; comments within threads are quite interesting to read just as the content brought forth by the original poster. Of course, the level of discussion is only as captivating as the people taking part; which makes it disheartening when the comments/debates turn into derogatory shouting matches or pointless banter to display superiority. For example: one thread I viewed about a certain anime poll seemed to be mostly filled to the rim of venomous or sardonic remarks between participants with little else of value to add. While a clash of views and opinions occurred, the reciprocity of anything meaningful said did not quite happen. However, a similar thread in another forum along the same lines did provide quite a rich exchange of opinions and also gave me window into the elements many fans look for in anime. Depending on the atmosphere (and if people are not being immature) forum activity and other hotspots are usual key places for good, wholesome debates and also finding something new while you are at it. Reciprocity at work through comments at its best.

Whether it be blogging, short tweets on Twitter, asking questions on social ask me sites, or even forum participation; anime will always have a social face rather than the usually one of solitude. While this still leaves a plethora of room open for debate of exactly why people comment and why they care if their opinion are heard, I believe choosing blogging to be my tool of choice was the right one. After all, I am asking questions; open-ended ones with multiple different ways to answer to receive the same in kind. This kind of reciprocity, to hear different opinions is what success means to me as a blogger and everything else is just a nice bonus. So with that said, how do you perceive commenting for both blogging and regular social sites? Why do you comment and care if yours is read? And how do you general perceive debates on the aforementioned sites? Kind and courteous? Respectful and well-mannered? Or just plain rude and spiteful?
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Minor Notations

• This was way more condensed and also somewhat winded as I planned, but this is generally the start of my new editorial block Deciphering Anime Fandom. I will post these ever once and while; touching upon subject matter that weighs on my mind dealing with general anime fandom elements. I promise the next one will be shorter and more easier on the eyes, yet this topic has been in my query for months on end now.

• Related post come from the esteemed AOIA blogger, @fkeroge (that posted his hours before me and shorter to boot) on Anime Blogger opinions and the equally awesome Yumeka that did one on types of commemorators.

Information

Title: Mai-Mai Miracle (Also know as “Mai Mai Shinko to Sennen no Mahou”)
Episode: Film (1hr 33 minute run-time)
Producer: Madhouse Studio
Genre: Adventure, Drama
Recommended/Similar Titles: My Neighbor Totoro, Only Yesterday,
Review Source: Digital Blu-ray rip (unofficial fansub)

Synopsis (Via MAL)

The story is set in 1955 in Kokuga, Hofu City, Yamaguchi Prefecture. One thousand years ago it was the site of the ancient capital, Suo no Kuni, and traces of the Heian Period (year 794-1185) are passed down to us in the form of ruins and historical place names.

The protagonist is Shinko, a third grade elementary school student, who was born and raised in one of the town’s venerable families. She is a little girl whose characteristic is a strange curl on her forehead (she calls it her “Mai Mai”), and her love for playing in the fields. On the other hand, her secret joy is to imagine and to daydream about the world of one thousand years ago. Her fantasies travel far into the days of the Heian Period…

One day, a girl called Kiiko transfers from Tokyo and enters Shinko’s class. This girl from the big city has difficulty feeling at home in this small town, but gradually her friendship with Shinko deepens. Before long, the two of them become engulfed in a strange incident of one thousand years earlier…?

Review

It is often said that children have better imaginations than adults due their loose outlook of reality. With Mai-Mai Miracle – we get that imagination, but also a dichotomy of both fantasy and darker reality of life tucked inside by both perspectives. The story overall chronicles a young 3rd grader named Shinko Aoki with a unbelievable imagination and her chance encounter with a reversed transfer student, Kiiko Shimazu. Together, they time travel to different era of their town to discover the secret of the “Millennium-Old Magic”, but also learning the ways of the world. Despite the description, their is no time travel rather than it is fantasy pieced together with two connected stories; one modern and the other of the past, one of many reoccurring themes in the film. For the most part, the film flips back and forward to Shinko, Kiiko’s and their friends everyday trials to Princess Kiyohara’s (based of the novel The Pillow Book) desire to make friends which seems to make for a predictable (if not confusing) story, but the reality is that the story is far more interesting and deeper than that. Without trying to spoil much of the plot, the film itself is very executed with juxtaposing the two periods to express a multitude of ideas and with Shinko’s timeline specifically, how far imagination itself projects to the harsher realities in life. Again, I will not divulge too much into the plot rather than encourage it to be seen in action.

The film also as an assortment of wonderful characters on hand to go along with its touching story, but only a few like: Shinko’s grandfather, Tatsuyoshi, and Hizuru come into play major roles besides Shinko and Kiiko. However, with the cast on hand, it really does strengthens the films thematic elements and improves on a unique quality the film holds to be segmented by its sub-story, but not thrown off by it. Voice acting comes from a elicit and fresh faces, especially that of Shinko (Mayuko Fukuda), Kiiko (Nako Mizusawa), Nagiko Kiyohara (Ei Morisako). The rest of the cast (with the exception of Shinko’s mother by Manami Honjou) are secondary members or the same for other supporting roles not credited or listed officially as seen in the films credits.

Madhouse Studio is primary power house behind the animation and one that has done a well-done job prior to its previously faux pas. It still does come with minor graininess in some scenes (not an encoding issue for the non-official release), but to a lesser extent and one that does not become noticeable. The animation itself is rather simple in nature, which attributes to this fact (free from extensive GC design) and the artwork seems to support this claim with its rather rounded character modeling. Besides from visual aesthetics, the soundtrack is also aptly implemented;  with a limited rosters of scores yet fitting to the films atmosphere. Noteworthy enough, the film also includes The Carpenters original 1974 recording of “sing” as insert song (known to most for its renditions on Sesame street). Sunao Katabuchi acts as the director for the film, most known for directorial duties for the Black Lagoon series as well as a anime version of Lassie, Meiken Lassie.

Again, from a personal stand point, Mai-Mai Miracle was a fine film, yet not quite to perfection. It inherently had some trouble with the story, or in this case, trying to adapt some of the Pillow Book’s story to an original. However, this detail is forgivable when applicable to the overall films execution and how it combines the past and present not only for one of the stories focal points  but also to the idea of how time changes things and what it means to grow up. This type of realism in itself is what I found very impressive about the film, but the techniques used to elicit it and emotional depth (or response) that results from it is the real impressive detail. I would recommend the film alone for such details if nothing else.

Mai-Mai Miracle proves itself to be a film worth the time watching and watching more than once. Chocked full of echoes of social changes in Japan (from eastern imperialism to westernized individualism), deception of time, and childhood wistfulness to ascending into adulthood; the film is more of anthem of how life goes on and the things as well as people in it are subject to change. If you like tinge of the aforementioned elements along with an adequate, yet emotionally authentic story, Mai-Mai Miracle is a gem that is worth examining. It may not be the prettiest of gems, but a few flaws make it so.
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Conclusion

Pros: Nice execution, unique storytelling, great representation of thematic devices, impressive artwork and animation

Cons: Confusion with the dual storyline, minor animation and artwork inconsistencies

]]> http://kaminarianime.wordpress.com/2012/04/20/anime-review-mai-mai-miracle/feed/ 0 moonlitasteria title mai mai mai1 mai2 mai5 mai4 mai3 mai6 mai8 mai7 mai9 http://kaminarianime.wordpress.com/2012/04/18/prism-quenching-my-yuri-lust/ http://kaminarianime.wordpress.com/2012/04/18/prism-quenching-my-yuri-lust/#comments Thu, 19 Apr 2012 02:48:33 +0000 Moonlitasteria http://kaminarianime.wordpress.com/?p=972 Continue reading →]]> Synopsis (Via Baka-Updates Manga)

Riding high on the memory of a boy named Hikaru with whom she spent a day during her last year of grade school, Megu went through middle school without romance. Now that she’s a high school student, she has decided she is finally completely over her first love and can look towards the future. But! Megu meets a pretty girl on her first day of high school who gives her a big hug, and her name is Hikaru?!

I am not much of an avid yuri follower (yet), but sometimes you find a title/series that is so adorable, so undeniably cute that it can give you sugar diabetes just from thinking about it. That is what I would call a “special” manga in my book. The manga in question is Higashiyama Show’s “Prism”, a sweet romantic romp of yuri goodness that has left a special impression on me. I would not be writing this post if it did not, right? Well, do not answer that, you people know me…

To avoid regurgitating the synopsis, it is just as it says, a girl that thought she had a childhood friend that was boy, reunites years later to find out she is a she, and turns out she has feelings for her. You get all that? Good. Would hate to have explain all that. Kidding aside, Prism was unexpected find for me, both in how it emotionally covered the relationship of same sex love and the feelings that are involved when those lovers are at that time in their lives of being young, in love, and confused. Of course, I would deem it has deep, since things sort of just happen, but all the same, it is very touching; showing a socially unaccepted stigma of this type of love (unlike most titles I seen), but also light-hearted and humorous.

Hikaru would have to be my favorite character thus far, the other primary female lead. She might look like the proper yamato nadeshiko, but do let her looks fool you, she is playful, mischievous, and perverted as any male when it comes to love interest Megumi. However, with a description like that, it is hard not to like her. Their are other characters as well (including their bad influence of a teacher. Whom is bisexual btw), but their involvement in the story is yet to be set in stone, but do see a bit of a side yuri romance developing. If your interested, read to find out whom I am referring to.

Hikaru nearly giving Megumi a heart attack.

If you read from the likes of Morinaga Milk (which works reminds me so much of this series in terms of artwork) then you will probably enjoy this one. If you do not trust me when I say the cutness factor is over 9000 then, you might want to try it for yourself. Just be sure you have some smelling salts ready to revive yourself. Also, just a small warning, some scenes do contain NSFW material, but not exactly hentai material. I would not read this in public on your e-reader though.

Information

Title: Ghost Hound (Literal Translation: The God Hunting Spirit: Ghost Hound)
Episodes: 22
Producer: Production I.G (Sentai Flimwork)
Genre: Sci-fi, Supernatural, Psychological,
Recommended/Similar Titles: Serial Experiments Lain, Kino no Tabi, Boogiepop

Synopsis

In an isolated region of Kyushu lies the town of Suiten. Though seeming small and modest, Suiten is not a picturesque place for a vacation, unless it is from the “Unseen World”. Taro, Makoto and Masayuki, three boys with traumatic pasts, learn to let their souls cross between the two parallel worlds. However, the Unseen World is no mere copy of the real Apparent World. The Unseen World is the home of ghosts, but changes are now allowing the souls of the dead to pass over into the Apparent World, with unpredictable effects. Follow the journey of Taro, Makoto and Masayuki, as they cross between the two worlds, trying to unravel a great mystery.

Review

While Serial Experiments Lain might have been Ryutaro Nakamura and his teams finest debut it might as well be consider a primer to what Ghost Hound is. Despite the “Ghost” in the title, this series has nothing to do with the horror genre more than it is a methodological mesh of science fiction and supernatural (including ghost) that the three main characters: Taro, Makoto, and Masayuki come to face as well as their own personal phantasms as they discover the relation of the visible and hidden worlds. Initially, the story does start off on a rather slow note, but due to its fluid and unique execution, it does pick up quickly with many fascinating elements and ideas coming forthwith. It is a shame that the finale losses much of the excitement that has been building up with a simple and anticlimactic solution (in the case of the fourth main character, Miyako), but nonetheless, the leading events keeps the audience engaged with the follow-up offering a gentle and somewhat satisfying denouement. The writing is definitely a high point of the series, but the execution and its thematic borrowings from the realm of science and the supernatural are the winners.

While Taro deals with the memories of his sister and their kidnapping, Makoto confronting his family history, Masakyuki his own, and Miyako with her supernatural encounters – these seemingly unrelated lines meddle together well creating a diverse main cast of characters as well as interesting and large supporting cast. For the main cast, the story certainly does seem to take on a “coming-of-age” theme with Taro and Company trying to break the shackles of their parents failures and their own past demons; which it certainly does well. However, eventually, characters like: Dr. Hirata (Taro’s counselor), Komagusu (Miyako’s dad), Dr. Outori (Bio technician and doctor) as well as others finally have encounters and revelations of their own that come to align and clash with the quartet.

Ryutaro Nakamura is known for mastery with aesthetics, sound in particular. In Ghost Hound, he exemplifies this all to often. Manipulating and playing with various musical attributes (such as noise and signals), Nakamura gives his audience a taste of the tagged elements; again, not for the shock or horror – but more for a practically purpose to direct the mindset to what is actually said and unfolding in front of them rather than what it all means. Sounds like: buzzing, distorted voices, white noise, low frequency growls, and silence occur and reoccur throughout the series and even can be considered just part of the soundtrack just as the fresh, up-beat Opening or somber, tranquil ending is than plain sound effects.

Production I.G is the animation. With Sentai Filmworks licensing Ghost Hound for North America, it does contain a dubbed version, however, the dub itself is lackluster in comparison. This has nothing do with voice acting or performance itself rather than conveying and presenting the script as the series prompts. On the other hand, it does help clear up some confusion the Japanese track might present as the English transcript rewrite is 86% exact to the original. The Japanese track is recommended.

On a more personal note, Ghost Hound will forever remain in the top ten tier of my favorite anime series and still a gem as it ever was to revisit after all these years. Remembering other projects that Nakamura directed (I.E: Rec, Kino no Tabi, Lain, etc) Ghost Hound was the one that stayed memorable for different reasons, but also why I enjoy watching anime in the first place. It was not so much the twist and turns, the thematics, or even directing – but just the pure enjoyment of the ride to see where the cast is lead by their discovers of the hidden and visible worlds. In some ways where Lain fulfilled my philosophical senses of the wired and physical worlds, Ghost Hound did the same with the connection and disconnection between the otherworldly and scientific spectrums. If you are person that did like Nakamura’s past directorial work like: Kino no Tabi and Serial Experiments Lain or even unknown to these, I highly recommend Ghost Hound. It might not completely feels like it can measure up to its predecessors, but surely executes itself with the intent.

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Conclusion

Pros: Excellent writing, execution, interesting cast of characters, unique examination of themes, soundtrack and use sounds.

Cons: Sluggish start, not many of the “mysteries” are adequately explained.