Light Novel Corner – Boogiepop 2: Boogiepop VS Imaginator (Part 1)

Boogiepop light novel 2 Boogiepop VS Imaginator Part 1

Author Kouhei Kadono
Illustrator Kouji Ogata
Genres Drama, Mystery, Supernatural
Published 1998 (JP) / 2006 (EN)
Pages 250

     I probably haven’t talked about it before, so I can tell that my story with Boogiepop franchise goes like this. Since I heard that there’ll be a new Boogiepop anime, I decided to finally pick up the light novels. Simply because some regard the franchise quite highly, and dipping a bit in anime (and associated media) history is never a bad idea. (Unless you get stuck on some CG of early 2000s.) Anyway, as always, procrastination did its job, and I barely managed to read the first volume before starting watching the anime. Now, the first arc that was covered in that volume, is already finished, so it’s time for the second one. I can’t say that I caught the train before  it even started moving, but still – I think it’s a valid idea to post my impressions of the novels before digging into the adaptation. So, here it goes.


Light Novel Corner – Boogiepop 1: Boogiepop and others

Boogiepop light novel 1 Boogiepop and others

Author Kouhei Kadono
Illustrator Kouji Ogata
Genres Drama, Mystery, Supernatural
Published 1998 (JP) / 2006 (EN)
Pages 250

     Baccano at this point is regarded as a milestone in the history of the medium, be it light novels or anime. The energetic chaos of intertwining stories of many characters definitely is very entertaining, if only you can keep up with it. The truth however is that almost nothing pops into existence out of a vacuum, and Baccano isn’t an exception to that. If you think of it as an outgoing youth full of craziest ideas, you should also know that it has a grandfather – older, calmer and usually more grounded in reality. What’s that you ask? Why, but that’s Boogiepop.


Light Novel Corner – Baccano! Vol. 1 The Rolling Bootlegs

     To start from the very beginning, on this blog I’ve been mainly sharing my thoughts on various anime and just occasionally glossing over some manga. Recently this trend was challenged by a random post about a JRPG. Still the main focus remains anime and it only happens that sometimes I feel a need to share my opinions not about a particular anime itself but about its sources. It’s no secret that nowadays it’s almost exceptional to get an original anime – manga adaptations have been an ongoing trend for a long while but another similar tradition hasn’t been represented on this blog in the slightest, and that is the popularity of light novels. Without much search it seems to me that light novels aren’t that widely talked about, so there’s a niche that could be filled. On the other hand, reading isn’t something you can do easily while eating your breakfast or multitasking in other ways so the audience of light novels isn’t that big. Usually the interest declines once the anime adaptation ends (more often than not in not the most satisfying way) and a statistical person even with the best wishes to know “what happened after that?” gets his hopes smashed by unavailable (or available but in a pretty bad fan-translational way) and often enormously long series that keeps growing every second month or so. Recently there has been some quite convenient improvements in the sense of availability but it’s still a big investment to get into any light novel series. So yeah, the niche seems to be here and as someone who doesn’t shy away from a decent read, I thought that giving an opinion or two about some quite well known (or not) light novel series book-by-book wouldn’t hurt, especially if you as myself want to know what really happened next, even more so if an anime adaptation left you unsatisfied. And even among rather well-received anime adaptations I doubt there has been many series that fans craved to be translated more than Baccano!.

Author Ryohgo Narita
Illustrator Katsumi Enami
Genres Action, Historical, Supernatural
Published 2003 (JP) / 2016 (EN)
Pages 224

     The first volume of the series, subtitled The Rolling Bootlegs, wastes little time to throw the reader right into New York City of 1930. As expected, gang business takes a prominent place in such a setting but on the other hand it’s balanced by other elements, such as unexpected inclusion of things like an elixir of immortality. Probably a third of the appeal of the story comes from the fact that such a weird combination of ideas actually was made to work. The Rolling Bootlegs basically examines the idea of what would happen if alchemy truly existed in the Prohibition era.

   Still, it’s not the story that makes Baccano! unique. The Rolling Bootlegs has quite a few quite diverse characters and naturally quantity and quality are interchangeable. The characterization is minimal but often strong enough to leave deep enough impression so that the reader won’t begin to wonder why everyone is so one-dimensional and more often than unchanging. There are some noteworthy individual characters like Firo, a young almost-member of one gang, Szilard, an old evil dude, Ennis, his homunculus (that meaning an artificial human that can be mind-controlled), Dallas, a wealthy thug, and Isaac with Miria, a pair of ridiculously lucky idiot bandits. The level of characterization can be seen from the mere fact that Isaac and Miria have a single wiki page dedicated for both of them. Some cheesiness in such motives as “I was looking for you because you were attractive” also must be pointed out. As you see, characters come a dime a dozen and limited length of the volume doesn’t really let to explore much, especially since the web of interconnections takes some time to be established. Generally that’s not a problem because the characters are just tools for the story to evolve. Sometimes you can wonder if the story isn’t a character itself – wickedly pushing one character or another in a particular way so that all the individual little stories intertwine into one giant intricate web of coincidences. And that’s the biggest charm of Baccano! – as you run through the pages you aren’t that interested in the fortunes of most of the characters – the main question remains how everything will continue to develop and what will come out of different encounters between the characters.

     Characters themselves might not be aware of all the connections and coincidences and it gives the reader even more satisfaction when you can sit on your high (and all-knowing) horse and smirk because you get that two characters that for example crossed each other at a street had far more in common than random passerby should have. Knowing the full story when the characters are aware only of some parts of it somehow is very satisfying. However, that feeling is restrained because some remarks by the narrator point out that he knows even more than the readers.

“We’ve robbed eighty-seven places, and in all that time, have I ever put you in danger?”
“About eighty-seven times.”
“There, you see?! It’s not even a hundred yet!”
“You’re right! That’s amazing!”

—Issac and Miria being Isaac and Miria—

     One thing I was left wondering about was the nature and summoning of the demon who granted the immortality elixir. Sure, it was portrayed to be an extraordinary event but also it was given only the smallest part of the book and its purpose was only to justify having immortal gangsters. Still that leaves a lot of unknown during this earliest time period not to mention the idea that a demon can so easily manifest to people. All these problems and lose ends basically arise from the limited space of the genre – I’m sure sooner or later Ryohgo Narita will be (or have already been) forced to elaborate aspects of the story that need that and at the same time can provide some entertaining story material.

     As a starting point of the long series (Baccano! as of now has 22 light novels and it’s not finished yet) the first novel isn’t the best example of how you should do it. The Rolling Bootlegs can even be viewed as a self-contained story that doesn’t absolutely require much more exploration. The mindset of the grand story in the first place is just portraying a segment of characters’ lives and they naturally extend more than can be stuffed into a one specific story, so inevitably some minor quips are here. Still, the main plot is resolved (the culmination was enormously and unexpectedly lengthy though) and even the very ending is a few words short of “and they lived happily ever after”. This stand-alone quality doesn’t retract anything from the bigger picture, it’s just not a very usual way of wrapping up things when everyone wants to grab attention and make enough space for future sequels at the same time strongly hinting at them.

     I guess some words about the relationship between the light novels and the anime need to be said. The anime adapts first few novels but there the storylines are all intentionally mixed up. On one hand you get even a better impression about the hectic swings of fate but for me it felt a bit too confusing. You need to pay all your attention not to get lost between the storylines, even though by themselves they are fairly simple and linear. Shared characters, especially when you still aren’t familiar with them, suck you into a mess that’s quite hard to disentangle. I’m not even talking about the first episode that screamed “hey, I’m complicated, hey, sucks to be you, hey!”.

“Quietly, the spiral of destiny turned.”

—The Narrator knows it all—

     Another quite apparent difference is that the novel uses a framing story that is absent from the anime – a Japanese tourist just hears the story from a certain someone. The fact that the whole immortality (and fast wound healing) is talked about in the framing story detracts some of the mystery elements that surrounded the anime where a fresh viewer didn’t know that he could expect such things. To be frank, it’s a bit weird how matter-of-factly immortality, alchemy and summoning demons is presented. I think in this case I prefer the more subtle reveal of everything in the anime. Compared to the realistic world of 1930s (minus immortality but that isn’t a game-changer) the fact that you have to use demons (do demons ex machina exit?) to justify the core events of the story feels like pushing too far, especially since at least at this volume no demon has any prominent role at all.

     Reading Baccano! makes it very clear why the genre is called light novel – the text easily flows through your eyes and you’re left with a wish to get more of the same but after some time you begin to feel like having eaten some fast food – it was tasty but still not the best food in the world. To be praised and remembered, Baccano! needs to elaborate its characters, maybe offer a longer story and some explanations about elements that were just glossed through.

 I believe, this light novel is


     Should you read it? If you enjoy insanely paced fast-food books, yeah, definitely grab a bite. Still, it’s not as attractively complicated as the anime seems to imply. Nevertheless, reading enjoyment at least for was certainly there, and not only because I want to know the source material well and then take advantage of the opportunity to know what happened after the anime ended.

Hand Shakers – “I can” doesn’t mean “you should”

Studio GoHands
Genres Action
Source Original
Episodes 12
Season Winter 2017
Director Shigo Suzuki

     When Hand Shakers aired, it was more than clear that the show was a serious contender to be elected as the worst anime of the season if not of the whole year. Yet, when the show ended, no one seems to remember it anymore. On one hand it barely deserves to be remembered, particularly so when far better shows are becoming forgotten so soon after the end of their airing. Nonetheless, even if you despise Hand Shakers with your whole heart, the show might have some interesting quirks that should be mentioned. Just for the sake of curiosity let’s try to find some good in this mess.

Is it a cooking show?

     And a mess it really is. Hand Shakers is an original series but, as many have pointed out, it’s mind boggling that originality isn’t one of its distinctive aspects at all. Hand Shakers rather feels like yet another light novel or computer game adaptation, just because of the unending feeling that there should be some coherent story around, the world should be interesting but it just can’t escape its embryo stage. Everything begins with the main guy Tazuna whose only characteristic besides being the main character and having appropriate to this rank plot armor is that he can fix things. Tell me it isn’t similar to Shirou Emiya from Fate. Anyway, Tazuna manages to inadvertently awaken a certain girl named Koyori from coma and it just happens that the two of them now become Hand Shakers. That, as an annoying but very convenient scientist dude explains, means fighting other Hand Shakers. The best pair is said to get an opportunity to ask a god (oh well, that escalated pretty quickly) a wish to be granted. It’s not all, sadly. At first it’s told that because of some circumstances Koyori mustn’t let go of Tazuna’s hand because then she’ll die. Oh well. So yeah, we just have a death-game scenario that doesn’t feel that different from shows like Mirai Nikki or the same Fate franchise. The clichéd premise is only the top of the iceberg as Hand Shakers never tries to move anywhere from it. The concept of Hand Shakers themselves is never expanded that much after the initial info-dump as if it was the least important thing in the story. The whole season is spent fighting pairs of villains, defeating them (how else?), then somehow befriending them, spending some time just randomly chilling out and moving on to fight another pair. I’d guess that if everyone would be so thrilled to get their wishes granted, every other episode shouldn’t be about cooking but that’s not the case. There’s even more stuff that is painful to remember – apart from the story that doesn’t try at all to make sense there’s some sisters crazed for their little brothers, bizarre superpowers, characters even more boring or annoying than the main guy – you name it. I can almost bet that any single trope you despise about anime in some form or another is embedded in Hand Shakers.

Where is the focus in this scene?

     Characters definitely aren’t an aspect Hand Shakers can be proud of. As I’ve already said, Tazuna is noticeable only because of the screen time he gets. Tazuna’s partner Koyori is even worse. She starts as a doll character, for some reason unable neither speak nor do a single thing herself. Her main accomplishments through the series seem to be learning how to make a conversation and eat some ice cream. Watching our main pair is as exciting as looking at a robot taking his dakimakura for a walk. Probably the next important character is the scientist guy. Apparently his personality should be akin to Okabe the “Mado-scientisto” from Steins;Gate but the attempt only proves that Mamoru Miyano has a voice and personality so unique that any copycat is destined to fail from the very start. The temporary antagonists sometimes provide a glimpse of some interesting story (for example about an idol that has to deal with the fact that she doesn’t have any audience) but as with everything else, the execution isn’t competent enough. The show just fails to provide a believable world by making pretty much everyone silly or mentally challenged. I doubt that normal parents would gladly approve of their son bringing home a random girl saying “Hey, it just happens that I can’t let go of her hand, so she’ll live with me”. The sense of humor is also questionable. Just take a look at a screenshot below, explaining why the main pair has to help a school festival by making some food.


     Say what you will about the generic story and characters but what really sets Hand Shakers apart from other forgettable shows is the visuals. There’s no doubt that much work has been put into assembling the series but sadly it looks like the team consciously thought of every possible way of making the experience less enjoyable. Hand Shakers can be distinguished by constantly and needlessly moving camera (especially in the first part), causing serious disorientation to the point of some people complaining about headaches. Each and every surface, be it a character or a background element, looks very glossy and constantly reflects light rays that sometimes move even when the camera doesn’t. The colour scheme is all over the place – you can expect countless colors, hues and shades at the same time, so it’s even difficult to say what is the most important element in a particular shot (in other words, the staging is virtually nonexistent). To some extent the coloring problem had to be expected since it’s not the first time that GoHands plays with this fire – Mardock Scramble trilogy already showed the root of this disaster. You can have insane amount of colors but it works only in rare cases such as my favorite example Mononoke. The same glossiness also creates a cold atmosphere and characters look more like they are fully CG. And CG itself is also a problem because there’s plenty of it, and it’s not good. The moving chains from the first episode is probably the worst thing in the show you can experience in terms of both making sense and appealing visually. The problem of CG not “meshing” (to quote the show itself) with 2D is also aggravated by the moving camera. The characters, CG objects and backgrounds all create a dissonance between themselves, and that may be even worse than the infamous Deen’s dragon. To return to the character designs, I can call them everything but pleasant. The glossiness doesn’t help, but even without that the same (and bland) face syndrome isn’t a disease GoHands if free from. Much attention was payed to the eyes (it’s an anime after all) but it doesn’t help at all sympathizing with the characters. Koyori rather looks like she could easily be taken as a blind person in another show. If I had to say one good thing about the visuals, some crowd scenes were surprisingly lively. Of course it was just a rare occasion before moving to static crowd shots but when it worked, it seriously looked good.

Excerpt from Hand Shakers

     The music is an interesting thing to talk about because it’s probably the only thing about the show that can’t be bashed right away. More interestingly, the credit for the soundtrack is given to GOON TRAX but its site says that it’s a label, so I can’t even name a single human being who’s responsible for the music in Hand Shakers. The soundtrack itself is composed of tracks that make not the worst playlist to listen to when you do something else. Usually there’s some relaxed piano over a background beat, just the thing you’d expect from, say, a music in the background of some YouTube video. The problem is that there’s nothing more to the soundtrack than these laid back tracks. When the show delves into its more slice of life segments (where nothing happens) such a music fits quite well. On the other hand when pretty much the same tracks are played over more serious battle scenes, it doesn’t “mesh” at all. Overall the soundtrack leaves an impression of being absolutely bland and uninteresting as an integral part of an anime series. At least the ED was quite nice, even if I didn’t care about a sad girl that doesn’t know how to do anything.

Excerpt from the OST: 'There's No Way' by GOON TRAX

     What can I say? For the majority of people Hand Shakers is a “burn it with fire” show, others (for the most part myself included) may find some entertainment for the “so bad it’s good” factor and probably no one will find it enjoyable enough. The story is pretty much garbage but it still has the gall to try to tease a second season by the end. Hopefully that won’t be realized any time soon. Or ever. To think about it, a studio that spends so much time for details and unconventional animation techniques just got incredibly unlucky because of the incompetence to play to their strengths right. Such detailed backgrounds by itself look pretty good, and I think a more experienced studio like ufotable wouldn’t be embarrassed to use such art of such level for their productions. To continue the comparison, ufotable also likes to use some CG space and where the action happens (for example Kara no Kyoukai 5 or Tales of Zestiria the X) and while their CG for me isn’t something that seamlessly harmonizes with 2D stuff, ufotable knows far better when to use their arsenal of means. Employ someone who understands what color design is, don’t be that ambitious, and you might become a half decent studio, GoHands. A writer also wouldn’t hurt.

How about no?

     I believe, that you should just


Don’t bother

     I can’t in good conscience recommend the show to anyone unless you’d like to laugh at its incompetence and bad choices everywhere. Even then it might be a very difficult task to endure all that Hand Shakers has to offer. Better stay away from it.

     Did you watch Hand Shakers? Can you think of a single positive point about the show?

Little Witch Academia (I+ II) – more than Harry Potter: The Anime

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Studio Trigger
Genres Action, Drama, Slice of Life, Supernatural
Source Original
Episodes 1+1 (both OVAs or films, or whatever)
Season Winter 2013 + Autumn 2015
Director Yoh Yoshinari
Music Michiru Oshima

     My case with Trigger anime has been quite a weird one. At first  I was very annoyed by the countless ads of World Trigger anime on Crunchyroll – at some point it seemed that there were virtually no other ads out there. It’s quite a shame that I managed to confuse a name of an anime with an entirely unconnected name of a studio. The ads certainly didn’t pique my attention, but then I learned of Kill la Kill, and that did. Yet, I researched it rather poorly (at first confusing it with Akame ga Kill, dammit) and stopped after quite quickly getting an idea that it’s only a weird ecchi show that doesn’t interest me at all. Knowing that Trigger branched of Gainax did give some brownie points but experiencing a short by Hiroyuki Imaishi in Nihon Animator Mihonichi (ep. 14) I was just disgusted by the sheer vulgarity of it. Despite all these things eventually I decided to try some rather neutral Trigger stuff, as Little Witch Academia has been praised by a lot of people and it seemed no way that it could be a hentai. Yet…

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     Just kidding. It’s definitely not a hentai (though I wouldn’t be surprised if someone has made some hentai after LWA). Stupid jokes aside, to clear some points, this post concerns only the original LWA as well as its successor LWA: Mahoujikake no Parade and not the (currently airing) TV series. Now fairly popular franchise began with “Young Animator Training Project” (aka “Anime Mirai” at some point), which also was the reason for Death Billiards (and consequently Death Parade) among other stuff to come into being. As it was a success, a launched Kickstarter project – pretty unusual for an anime, eh? – became funded in no time (to be more precise under 6 hours) and so we got a sequel to the first OVA. And even later came the TV series, but that’s not the topic today. Why is LWA interesting? For starters, there aren’t many anime whose stories have so little in common with anything Japanese. Name the heroine otherwise and you have a script for a Disney production. Well, if you can imagine the world of Harry Potter genderbendered and made into an anime, you would get the general atmosphere pretty well. To be frank, even some story elements have similarities – for example the adversary of the good kids is a white-haired person from a family with a long lineage. It’s not only that. Near the end of the second LWA there is something straight from Satoshi Kon’s Paprika. The creators themselves acknowledged that they had various influences that made LWA what it is. Should it bother a random viewer? Definitely not, as even if LWA isn’t the most original piece of art (though such a story in anime is pretty novel), it was made with love and watching it is nothing but fun.

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What is it about then? A young girl Akko after seeing a really impressive (no kidding) performance of magic by one particular witch, becomes infatuated with the stuff you can do and energetically (as always) decides to go to a magic school. Her problem is that she has no knowledge and obviously isn’t as skilled in all of the witch-y things. Getting a protagonist to overcome such problems is a basic premise of many shounen anime, but what makes LWA stand out is the execution. Especially the first OVA is incredibly tight paced – every single frame is thought out and couldn’t be removed by any means. The creators already confessed having to cut lots of stuff due to the expected limited length. Still, the OVA doesn’t last even half an hour (which passes in an instant) but you feel that the material could have been spread out into a full feature film using a more relaxed and therefore probably less charming approach. The second film continues the doings of Akko and her friends, expands the universe, but isn’t as entertaining as the first one. The story becomes less tight, there are fewer new exciting locations, the characters start some inter-conflicts and that slows down everything quite a bit. After all, it’s almost inevitable that a sequel isn’t as unique as the original material. Still, even if it doesn’t manage to reach the heights of the first LWA, for every fan of the franchise (and not only) it’s much recommended.

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    About the characters of LWA I have written a bit here. To think about them in a broader scale, they don’t really stand out. Especially in the first film, when the pacing lefts almost no space for a breather, the girls are presented really quick and then only their actions speak for them.  You have the enthusiastic Akko, who loves magic with every cell in her body but often screws up only because, being from a non-magician family, she has no idea how things work. Akko’s sidekicks Lotte and Sucy, being a normal girl and a pretty typical witch respectively, provide some character dynamics and catalyze some drama in the second film. Diana, whose family is apparently very proud of their ancestry with many generations of witches, acts as an antagonist in the first film, but sadly doesn’t retain any more prominent role in the second, which is a shame. The second film also introduces three more girls that have some minimal impact on the story, but don’t do anything special. When you think about it, the character aspect of both shows may be a bit lacking, but after so much that happens you just don’t care about it. Also, another perspective was provided by the director himself – Akko symbolizes a new animator coming into the business, without a clear vision of the real work he has to do, and that not always is as interesting and easy as he thinks. Everyone, with Diana acting as an embodiment for them, despises such a carefree attitude, but ultimately Akko finds her place in the community. Sure, this allegory isn’t apparent if you don’t know about it, but it‘s a nice little touch, giving the franchise a new meaning.

Excerpt from LWA: Mahoujikake no Parade; animation by Yuuto Kaneko

    Doubtless the animation is the most enjoyable part of both of the films. You can only wonder how much passionate work was put into every single scene and how effectively everything came out to be. The director Yoh Yoshinari is known for being a perfectionist to the bone so working under him probably wasn’t the least stressful work on Earth, but despite that the end result is nothing but gorgeous. It’s easy to recognize Studio Trigger behind the work because of the character designs and especially character animation. Such exaggerations in it not always work well with me, but this time I was only astounded how well it reflected the characters and their emotions. Forget the usual anime trend of only lips flapping – there everything is moving and characters are as expressive and dynamic as anywhere. You can probably make a whole sakuga guidebook just from the first LWA. The animation wasn’t the only thing to stand out in the department of visuals – Studio Pablo did a wonderful job (as always) providing backgrounds – vibrant, colorful, and beautiful beyond any doubt.

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     The soundtrack is another aspect linking LWA to the Disney productions very tightly, and at the same time being close to Ghibli soundtracks. That’s no wonder since the composer is Michiru Oshima, who usually handles orchestral music very effectively. Just look at her portfolio that contains FMA (the first one), Yojouhan Shinwa Taikei (that is Tatami Galaxy) or Akagami no Shirayuki hime. Orchestral pieces provide an airy atmosphere with enough quirks to mirror the misadventures of Akko. Having a full orchestration also gives a feeling of something removed from your daily life, just like a fantastic fairy tale with a usual “once upon a time”. A more minimalistic soundtrack (maybe just usual piano and strings) would have made everything look way more familiar, but now there’s a sense of wonder and also curiousness how anime girls can be mixed with classical Disney atmosphere, and the most important thing is that the mix really works.

Excerpt from the OST: 'Chariot's Theme' by Michiru Oshima

    At this moment the new TV series is still ongoing but I think it’s safe to say that the short length of the previous installments to the franchise was a positive attribute. Of course, there have been many anime shorts that waste the time they’re given, but LWA is not the case. When the creators have thought out the universe and the story that they want to tell really well, and it turns out to be longer than intended, as painful as it might be, generally cutting some material works way better than having to stretch everything out. Also it’s notable that TV series has a whole different timetable so not very satisfying strategies as outsourcing become inevitable. I guess it’s just my slight concern that the TV LWA so far isn’t doing anything more impressive than its predecessors (though it also has its moments). Knowing that the first and second LWAs look even more beautiful, full of freedom and devoid of limitations makes them a really enjoyable experience.

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 I believe, this anime is


     I think that for any anime fan LWA (especially the first one) is a must watch. I can’t remember when was the last time that so much fun was so tightly packed and delivered with amazing animation. Well, it’s Trigger at its best. If you have been burned out because of too many boring anime or just want to reignite your love for the “Chinese cartoons”, LWA is as good an option as you are ever going to find.

Scattered Thoughts – Thunderbolt Fantasy

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     To start with, this is not meant to be something like a review paying attention to every aspect of Thunderbolt Fantasy but just as some (random) thoughts that have crystallized after the watching of the show.

     Well, if you at least sometimes check the news of the anime world, I think it was nearly impossible for you not to notice a strange creation that has appeared out of nowhere and has become quite popular even if now the talks about it are not that prevalent anymore. Thunderbolt Fantasy technically isn’t an anime but nonetheless share many similarities with the medium. The show basically can be summarized with two words – “puppets” and “Urobuchi”. If that doesn’t intrigue you, I don’t know what will.

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     To start from the very beginning, the puppets came into being in China some hundreds of years ago and spread in the area. The trend reached Taiwan and that’s where the show’s origin lies. A studio called Pili has made such puppets for some time now and it just happened that many of the staff are not indifferent to anime in general. That’s were the second part of the equation comes in – Gen Urobuchi (well, everyone knows who the guy is – Fate/Zero and Madoca Magica speak for themselves) was impressed by the artistic possibilities that the puppets may provide so it was fairly natural for the two parties to come together and do something. The anime-ish side of the show was also bolstered by the composer – Hiroyuki Sawano, best known for Attack on Titan, who agreed to write a score, but frankly I don’t think it was one of his better works – too many reused themes with too little impact.

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     Well, Urobuchi is Urobuchi but for someone who has already savored his style and probably is not unconditionally head over heels about it the main selling point of Thunderbolt Fantasy is the visuals. To a person who is accustomed to watching anime or live action stuff puppets may look very weird. Still, there’s grace and artistry in everything that is done with them. A wooden puppet is made hollow so a puppeteer can mount it on his right hand and with it move the puppet’s whole body, some limited facial expressions included. With his left hand the puppeteer controls the puppet’s left hand so it’s no wonder that all the puppets are left handed and use it with great dexterity. Well, you may say, what about the stunts? There have been scenes in Thunderbolt Fantasy when characters were jumping, falling or just moving in a way that couldn’t been done sitting on a puppeteer’s hand. The answer to that is stunt doubles. Yes, the puppets as normal actors do, did have them. Sounds weird but it’s only natural that a different medium encounters different problems and finds some ways to deal with them. The sets also need to be mentioned. Every smallest prop was handmade and you can probably imagine how much work needed to be done to have a decent looking banana on a decent looking table that would be used just for one scene only. The details, given the amount of hard work that needed to be done are amazing. Of course, as you can see from the first episode and maybe the last, some CG effects were added. The rate of usage of CG never was that high compared to the first episode but some credit must be given to the creators because the effects look fairly organic with the world they appear in. The comparative sparseness of CG lets other aspects of the show to shine – for example the dust that sometimes appeared and many other effects were strictly practical, which on its own is fairly astounding.

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     The visuals can’t be discussed without mentioning the appearance of the puppets themselves. I can’t possibly stress enough how beautifully they are made – every piece of cloth and accessory is polished to the level of brilliance. Every puppet by itself can be easily treated as a piece of art – take for example those wooden heads – each carved with an amazing precision. Sure, some time is needed to get accustomed to the typical movements of the puppets but after that it’s only a joy to watch. At first it was quite difficult not to notice some critical differences between the puppets and anime characters. Well, it sounds dumb since the puppets are real while anime characters are drawn, but let’s compare other differences beyond that. In anime the animators use every possible trick to make the characters move as little as possible and in this way save lots of work needed for the animation. The puppets on the other hand don’t have this in-built limitation – during every conversation they gesticulate very expressively and move much more than you imagine a real person would do. Exaggeration of movements may look odd but after a time you begin to wonder how these wooden pieces of art manage not only look good but also to be so versatile and use every opportunity to show that. Versatility is a good thing but it’s also limited in a way. A puppeteer just can’t move everything and that ends up being the immovability of the lips of the characters. Yes, the lips can move up and down but certainly not at the frequency a normal person would do. Also, the lips look exceptionally huge, almost swollen. Oh well. So there you have it – the characters that move excessively while their lips barely manage to go up and down. The eyes are only able to blink from time to time compared to the huge variety of anime eye expressions. After so many words of praise about a visuals it seems almost inappropriate to mention that in some cases things were too flamboyant for their own good – the mystical sword that is the center of the story looks like the least practical weapon anyone could have imagined.

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     Continuing the thought about the lips, the aspect of language need to be touched. As the company Pili who created the show is Taiwanese, the original language of the show was Chinese and that means Chinese names and stuff. Of course, there was a Japanese dub made after that but one problem was still left and that is names. The mythology of the show allows the characters to have multiple names, all more similar to epithets of the personalities and deeds of the characters than some actual names. But the real problem for me was that I watched Thunderbolt Fantasy on Crunchyroll. There the Japanese dub was used and subtitles were English but oh boy what they did with the names… The dub used the names translated to the Japanese while the subtitles only transcribed the Chinese ones. Well, I’m not even able to read some of the symbols the transcription used and to hear some word, completely different sounding from a written one, was just too much for me. Well, I just ended up learning hardly any names of the characters.

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     To be frank, that wasn’t an issue I couldn’t cope with after all since the story itself wasn’t anything special and I doubt I would have started watching Thunderbolt Fantasy if it were made into an anime. You have a set of pretty ordinary characters – a hero, a heroine, a plotting mastermind whose allegiances aren’t clear, a demon (basically a witch), a bunch from Fate/Stay Night (Archer, Lancer and Assassin) and a villain (with some lackeys) that looks so cool as if to turn any possible male opponent gay. Almost every character is made to be of some use to the story but after all I feel like it was a bit too much of them. Much of the narrative could have been condensed, some of the cast just erased and the time left spent exploring the world. The world certainly looks organic and interesting, having its own history, magic, wars, mysteries… Well, everything that would have been a very enjoyable thing to see more of, especially since the creators are so good at building the environments. The only excuse I could think of is that of course everyone just wanted to show what they are most capable of – as many diverse puppets as possible. The ending seems a bit lacking. Yes, it’s the journey that counts but I would have liked something akin to a climax and not just casually dealing with a final boss in a surprisingly brief battle, even if the story to reach that stage required the whole season. Well, of course opening your Unlimited Blade Works stash ends things quickly but the feeling of fulfillment there has no place. Some traits of the characters and elements of the story speak of a rather mature series, but Thunderbolt Fantasy manages to negate that with shounen-esque special attacks (with their names shouted to the wide world, how else?). Also, sometimes the story would just stop in order for the characters to talk. I wouldn’t call it strictly info-dumping but some scenes would drag for a very long time with nothing happening. However if you are able to withstand that, the fighting segments prove to be very rewarding.

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     If you remove the visuals, the show remains very Urobuchi like – with uncertain loyalties, mysterious characters and the plot that can change drastically any moment. Sometimes even the Urobuchi-layer seems too thin to be able to carry the story. Luckily the visuals are always here to mask any flaws. To be frank, that’s one of those shows that requires your brains to leave some things unnoticed but if you’re able to do that, it’s a real feast for eyes – the technical aspects are amazingly stunning. So yeah. I think it’s beneficial for anyone to watch at least the first episode of Thunderbolt Fantasy – at least to be able to grasp how many beautiful things are possible to be made. To some the fact that it’s a puppet show and not an anime might be a huge turn off but I think that Thunderbolt Fantasy in its essence isn’t that different from the mainstream anime. If you can deal with, say, differences of the style of Masaaki Yuasa compared to any other creator’s, this show shouldn’t be a big problem. By the way, the 2nd season is already announced so now is as good time as ever to sample some unconventional art.

/Much information came from here, but you are still welcome to delve deeper./

Flying Witch – the brilliance of Slice of Life

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Studio J.C.Staff
Genres Slice of Life, Supernatural
Source Manga
Episodes 12
Season Spring 2016
Director Katsushi Sakurabi
Music Yoshiaki Dewa

     An anime that belongs to slice of life genre is difficult to make. It sounds very easy – just tell what happens every day and that’s it, right? Nevertheless, not every show has that special something that makes seemingly boring or just not that inspiring things into a spectacle you want to watch and enjoy. Sad as it is, our usual lives tend not to be comprised of stuff that is worth telling as a story and something memorable happens only rarely. What to do then? Many great slice of life shows that don’t pursue any continuing narrative either build colorful characters or manage to include some particular quirks to their stories, something that make them stand above their counterparts. The real mastery then is to mix those quirks within mundane activities of the characters. This way we have ridiculous situations of Nichijou, multitude of wondrous youkai in Natsume Yuujinchou, parental learning moments in Usagi DropFlying Witch, though probably not able to boast the perfection of some of the greatest anime, stands near enough and wastes no time telling what its special quirk is.

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    As with most of slice of life anime, the set-up of Flying Witch isn’t anything complicated – Makoto with her cat Chito-san arrives to live with her cousins Kei and Chinatsu and their parents in the snowy Aomori prefecture. The unusual thing is that Makoto practices to become a witch but this part of the set-up isn’t remembered as often as you would think looking at the title of the show.  Not that I complain since there’s lots and lots of things to do in Aomori apart from witching. Makoto with Chito-san explore the surroundings and, as her relatives live pretty close to nature which means a bit of farming and stuff, she wholeheartedly takes up every opportunity to enjoy her staying and experience things she hadn’t before, even if they are such small and forgettable like tasting some random vegetable found by a roadside. Of course, cooked.

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     Things changed a bit when the Fire Nation attacked, I mean, Makoto’s sister Akane began visiting her. Akane being a professional witch (I guess it’s genetics after all with all the witches in the family) didn’t miss opportunities to teach her kouhai about some simple stuff. Of course, when she wasn’t sleeping. Or drinking. Anyway, witchcraft in the anime is only a secondary focus at best so don’t expect any ground breaking or time bending magic tricks. It’s well tuned with the atmosphere of the story – some walking paper cranes, ghosts working in a café and just all around pleasant and friendly stuff that makes you a bit amiably surprised and refreshed (if you ever were) from gardening, farming (talk about using the setting efficiently), cooking, exploring and just slice-of-life-ing. That’s one of the strengths of Flying Witch – the balance between occasional unexpected supernatural incidents and comfortable life at a beautiful place doing whatever the heart’s desire is. The only thing that a bit bothered me is that some of the characters or phenomena of the witch world didn’t receive as much attention as they (I think) would be able to withstand. I don’t say that the composition of the show was lacking – you can only put in so much content into a 12 episode show. Still, there are many things left that I would like to see more and to know more about. I guess this problem can be at least partly attributed to the fact that the anime is an adaptation. The mangaka probably plans her stories so that they would provide just the useful information at a time and wouldn’t leave her with less ideas that are being prepared for the future. To please the thirst for more there’s only two choices – embrace the manga or not that hopefully wait for any news of the possibility of a second season.

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     Usually in any anime you can’t rely only on the setting and the originality of the premise. That’s where the characters come in and even if I can’t claim that Flying Witch has a very memorable cast, the dynamics between the characters and some of their individual quirks make it a good watch. There’s nothing much to say about Makoto herself, only that she is a pretty normal girl, a bit absent minded sometimes (and because of that relying on her cat) but trying to do her best. Chito-san behaves like an ordinary cat with all the catlike mannerisms and that further gives some strength to the realistic part of the show which is balanced by frequent Makoto’s interactions with Chito-san as if she was just another human. Maybe our witch just knows her cat perfectly but that certainly adds some sense of magic to the atmosphere. Other secondary characters worth mentioning are Chinatsu – a kid that behaves like a kid. As weird as it sounds, it’s not that usual in anime with a few exceptions (that are getting more frequent with Amaama to Inazuma and others). You can’t not smile when Chinatsu reacts to something with all her childish soul or just idealistically and enthusiastically tries to pursue something. Makoto’s sister Akane is another character worth mentioning, being totally unlike her sibling – outgoing and energetic (when she’s not sleeping) world class witch full of weirdest ideas. The cast’s strength lies in the interactions between themselves, the strong sense of kinship and mutual reliance, just like you would want to have in an ideal family. Also, it’s remarkable that even if Flying Witch tells episodic stories, the characters, even less prominent ones, retain their memories of recent matters. There’re many instances of episodic shows whose order of episodes you can change without any impact, but this one not only adds just a little bit more to the realism using recurring characters and reminiscences of past events but also makes the grand story more cohesive.

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Excerpts from the anime

    Let’s move to the visuals, where one big part of the greatness of the show lies. Talking about the character designs I just don’t know how to define what actually makes them look very pleasant, but it really does. It was probably the first few seconds of the PV of the show that I, still don’t knowing basically anything about Flying Witch, thought “Hey, I could watch this”. The designs somehow just add much to the soothing, relaxing, comfortable and warm atmosphere that is one of the strengths of the show. Another huge positive comes from the backgrounds. When you watch the anime you can’t not notice that the surroundings seem somehow different from usual cardboard cutout buildings and streets. The reason of this is the hard work of the staff – the town where everything happens actually exists, and that is Shimoyuguchi near the castle town of Hirosaki in Aomori prefecture. There was a series of articles on Crunchyroll (here, here and here) about that which you should definitely check. Of course anime makes every place look way flashier and brighter to accommodate to the general feeling of the show but many actually existing buildings and places enhance the sense of location many times and, even if it’s not the thing you notice very easily, make you far more attached to the show.

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    As with the character designs, I fell in love with the soundtrack from the first glance. I can’t remember how long ago it was that some first notes of the first track paired with the visuals would move me so much. The general mood of the soundtrack remains very light, simple and laid back, as expected of a piano, some strings and woodwinds for the most part. The beautiful main theme reappears at various moments in different arrangements but the lack of complexity isn’t a bad thing. Sure, many people probably won’t be compelled to listen to the soundtrack all the day but as an accompaniment for the story it works well. Still, for me especially the main theme and some other jazzy tempered tracks are some of the more beautiful musical pieces of the year.

Excerpt from the OST: 'Kowata Makoto' by Yoshiaki Dewa

     Flying Witch is an easy anime to miss if you prefer something that has action and high stakes. Still, I highly recommend to dive into the heartwarming greatness of iyashikei and enjoy small beautiful things that happen every day. In this perspective Makoto, who begins her explorations of tiniest joys of a more rural setting than she (and probably the viewers) is accustomed to and Chinatsu who still views the world as a place full of wonder and happiness are the best characters the show could have had. Some little and innocent magic tricks and the queerness of the world of witches renew the enjoyment when you begin to get comfortable with Makoto’s everyday cooking and farming, accompanied by the soundtrack that could compete for the best aspect of the show – it’s very pleasing that all those parts comprising the show really work together to reach one goal – the brilliant atmosphere.

     I believe, this anime is


     Of course it depends on your preferences but if you are not indifferent to the slice of life genre or just want to have a calm and soothing experience, look no further – Flying Witch is just for you.

Boku dake ga Inai Machi – hardships of living up to the hype

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Alternative title Erased /
The Town Where Only I Don’t Exist
Studio A-1 Pictures
Genres Drama, Mystery, Supernatural
Source Manga
Episodes 12
Season Winter 2016
Director Tomohiko Itou
Music Yuki Kajiura

     Boku dake ga Inai Machi was probably the most notorious anime of Winter 2016 season. Sometimes it just happens – a story that clearly has potential gets an anime adaptation by a famous studio, the staff also seems to be at least decent or even very good (yes, it’s especially Yuki Kajiura I’m speaking of), some people become interested and that gives a chain reaction so that the hype climbs sky high. Yet, some viewers cool off very quickly and even start to despise the show, while the majority still retains the opinion that it’s really great. Come to think of it – Boku dake ga Inai Machi is truly well made, but still some details restrain me from calling it superb.

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     The first episode wastes no time and introduces us to Satoru, not the very brightest or that successful 29-year-old guy, who has to work as a pizza delivery man because of being unable to start a profitable enough mangaka career. What’s so interesting about him? Well, he appears to have an ability to travel back through time a few minutes and change his behavior so that some ill fortune would be evaded. That’s what became clear after the first episode and sadly even after the last one we don’t know virtually anything more about this ability. There are some implications that it may activate when Satoru becomes very shaken emotionally but that’s the most what can be speculated about it. Of course, it’s a better choice to leave it at that as sort of a natural thing and don’t pursue any half-baked explanations but I just would have liked to know at least Satoru’s own ideas about why does he have such a power and what exactly it is. Now it remains only on a level of quite a cheap plot device that activates when it’s convenient. Not to mention that one day Satoru’s ability unexpectedly throws him back to his school days when he was only 10 years old. Now in a kid’s body, Satoru decides that this means that he must save his classmate Kayo who was kidnapped and murdered at that time to prevent the cause of why his ability activated (ooh, it’s difficult to evade spoilers). Well, it sounds alright, but when you think of it, if Kayo was so important, why didn’t Satoru’s ability activate earlier so that he wouldn’t need to live pretty much useless two decades? On the other hand, Satoru could have gone just a few minutes back through time in the first place to avoid that certain event that started everything. Not to mention pretty unjustified notion that it’s namely Kayo’s fate that Satoru needs to change.

Excerpt from the OST: 'Reasoning'

Anyway, our protagonist ends up being a kid and having to befriend Kayo and in this way save her from the murderer. Because of his ability, Satoru is not just a child, but a child with a mind of an adult, though that is handled in a pretty heavy-handed way. One second he may use his life experience to think of ways of dealing with the murderer and then another just start asking his teacher some advice how to become friends with people. Come on, you are a 29-year-old guy, dammit! Also, Satoru is portrayed as having at least a bit infatuated with Kayo, on the verge of it being romantic, and I really don’t feel very comfortable knowing that a 29-year-old guy stammers and blushes and goes on a date while holding hands with a 10-year-old girl. I didn’t really appreciate the composition of the show either. All the stuff to do with Kayo went on for the majority of the series but when that arc wrapped up, Kayo was just packed away to appear only in the very end. Well, I think that the developing connection between her and Satoru (well, not the romantic side of it) was one of best things in the show and it would probably have been better to either extend this arc to the whole season (and opt for another one to deal with the rest of the story) or shrink it somehow because after Kayo left the spotlight, Boku dake ga Inai Machi just lost a lot of its appeal to me. Yes, the story went on, but it was nowhere near as impactful as Kayo’s part was. Apparently original manga version tackles this and other issues a way better, but sadly the anime didn’t profit from cutting much of the material. Another thing connected with the composition is multiple time-travels. I guess if you add such an ability to the story, you try to use it as much as you can, but this time it felt like it broke the already established continuity and added very little to the plot. Speaking about the ending, it felt quite anticlimactic. As this is apparently more of a mystery anime, the true killer was actually pretty easy to determine and when the main guys have also done it, everything just ended without much emotions or consequences.

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     I already addressed my problems with Satoru being an adult and a child at the same time. Well, it can be argued that all his life Satoru remained pretty childish – to the extent of running away when not knowing what to do, even if it works against him and could have easily been solved just by talking. Most of the other characters cause far less problems, being pretty much normal kids and adults. Apart from Satoru and Kayo I don’t think anybody received many developments, though that wasn’t something absolutely necessary. Yes, there is that one ridiculous and very random backstory element when a wife left her husband because of an allegedly stolen chocolate bar, but everything else makes more sense. That is till we encounter the villain and his motivations. That is if he had any. Some explanation is given about some hamsters and stuff, but does it feel satisfactory? Clearly nope. It almost looks like the villain’s motives were left to be included for the last second and that was done with the mindset of “oh bugger, no time for anything decent so this will make do”. Another probably more personal dissatisfaction was caused by the way the show treats the characters, more precisely all the numerous red herrings scattered here and there. I believe a good mystery can use them, but only in order to weave a number of possible strings of motives and actions of several different people that would enable to list them as suspects. The joy then is to find false leads and one after another eliminate them. In this case all the red herrings we get are limited to a single scene, say, a shot of an ominously enlarged knife next to a person who might be not that clean. And after that? No elaboration whatsoever, all those scattered scenes just suggest a suspect once and that’s the end of the story. Why would you waste a shot to tease the viewers with some sinister glance and then practically forget that?

Excerpt from the anime; animation by Takahiro Shikama

     What A-1 Pictures really can do is to deal with all the artistic elements. And here? Well, it kind of worked out. For me character designs needed time to settle in, especially Satoru’s mother’s lips – it was a very long time since I could overlook those giant things that were looking almost like a moustache. Apart from that, everything looks quite polished most of times, though there were moments when far standing characters’ faces looked more like quickly drawn sketches and not finished products. More people versed in cinematography pointed out numerous scenes that had some metaphorical meaning, but you don’t even need that to simply appreciate the looks of the show. Interestingly, segments when Satoru was in his 10-year-old self were made to be in a ”letterbox” way. I believe it was a nice decision as it showed another overarcing theme of films as memories as well as the caged world between the stripes of black showing that Satoru himself is not comfortable in that time and place and has to deal with some serious problems. That’s all good and well, but what the show lacks is subtlety. I understand a wish to show some color symbolism but it’s a bit too much when every time someone acts like villain, their eyes just turn red. The main antagonist, once revealed surely must don his typical villainous smile, how else we would know he’s a truly bad guy? Even if the name of the OP song shown as a graffiti on a wall in the last episode is a nice touch, I doubt it should have taken the spotlight so much. All the already mentioned red herring stuff also adds a bit to this argument.

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     Yuuki Kajiura was responsible for the soundtrack and that says a lot. Being quite a fan of her I just wished her music would have had more time to emerge from other background sounds and talks. There clearly were some shiny tracks but much was left covered with many layers of other stuff. Not knowing that it was her I would probably have not noticed the soundtrack at all for the most part of the show. Still, the composer knows how to create a very suspenseful atmosphere (basically similar to Kara no Kyoukai films). In that regard the soundtrack is definitely good, but it clearly doesn’t go very far beyond just being functional. The opening deserves a special mention for its song was Re:Re: by Asian Kung-Fu Generation. I’ve known the band for some time but namely this opening lead me to investigate them a bit more and oh well, I’ve got another band to add amongst my favorite ones. Check the band out if you will.

Excerpt from the OST: 'Only I am missing'

     All in all, I think Boku dake ga Inai Machi at least deserved all the fuss around it. Production quality was good more times than not (no wonder when the director has worked under Mamoru Hosoda if I’m allowed not to mention his job with Sword Art Online), the premise was pretty unique, even if less time jumps would have been sufficient. It’s interesting how after this show the amount of anime with time travelling elements appears to be increasing so we can talk about some influence. Nonetheless, series composition, numerous conveniences, problems with subtlety and generally unsatisfactory ending drops the enjoyment not that high after all. Many people think the show’s great and it probably did a splendid job adapting all the material with all the means available. That said, all the nitpicking thoughts somehow prevented me from getting invested emotionally very much and while I certainly appreciate all the effort, I can’t say that my opinion of the show is very high.

     I believe, this anime


Could’ve been worse

     I guess you should check the show out (though most likely you have already have – Boku dake ga Inai Machi can boast higher popularity than such grands like Trigun or Mononoke Hime). Don’t believe that it’s the best mystery, time travel or drama ever and you’ll probably have a good time for the most part of it. A-1 Pictures assembled some very talented creators but the end result wasn’t as good as it might have been, but it’s still worth a watch. Unless you haven’t seen Trigun or Mononoke Hime.

Momo e no Tegami – almost Studio Ghibli-esque, but..

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Alternative title A Letter to Momo
Studio Production I.G
Genres Drama, Slice of Life, Supernatural
Source Original
Episodes 1 –  it’s a film after all
Season Summer 2011
Director Hiroyuki Okiura
Music Mina Kubota

     Anime industry just loves adolescent people. Why? Partly because they comprise a huge chunk of the audience so self-inserting is easier that way, but that’s probably not all. Young people are more interesting in a sense that they encounter many problems for the first time in their lives and deal with them in ways that sometimes are very creative. Also, during that age a person shapes his personality that probably won’t change that drastically for his whole life. Considering all that, it’s nothing strange that many anime stories deal with coming of age themes and necessity to adapt to difficult, unexpected and often unwished changes. As there is no shortage of such tales, naturally some are better than others, some lack some specific ingredient, some manage to resonate well with the viewers, others – not that much. Knowing all that, where does Momo e no Tegami stand– a film whose technical details may catch the eye right on?

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     The story isn’t complicated at all – you just have an ordinary girl Momo, whose shyness gets in a way of making friends, moving with her mother to the country because her father died. Momo doesn’t feel very comfortable there, even if her grandparents try to be as hospitable as they can and some local kids would like to know a new person a bit better. And then Momo begins seeing youkai. If that doesn’t sound the least bit of Studio Ghibli-ish, I don’t know what would. A girl as a protagonist, ended up in a place where the forces of nature are very strong and even the spirit world becomes graspable by hand. I don’t even know how many Ghibli films would fit this description. Still, whether Ghibli youkai would be friendly or not, mysterious entities or just cute little thingies or beings of awe, they always seem to be otherworldly, something entirely different and incomprehensible to humans. Here, however, youkai look far down to earth – it would probably have worked as well with some human characters, weird as they were. Apart from having ability to be invisible and kind of helping Momo in the end (I guess it can be argued that the help wasn’t that crucial), all three of them remain just supporting characters, nothing more. This may be a very long shot, but I’d have probably liked the film more if there were actually no youkai. If executed well (and I know that the director is certainly capable of that) the film would have been a realistic, mature and possibly sad story about a girl trying to solve her problems. Now apart from some pretty flat comic relief and the ending that wasn’t really called for, the youkai side of the story doesn’t look that absolutely necessary. The ending itself was not really to my liking either – I can deal with suddenly going from the climax to the resolution without a clear understanding how exactly everything played out, but the final need of the film to leave absolutely no loose end nor any ambiguity and bring a totally happy ending looks quite childish. Some things just can’t be amended and as sad as it is, it’s for the good of the characters and their growth, even if the story doesn’t continue to that point.

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     As the story can be thought of as a tale of maturing of Momo, she gets the majority of the development, but that isn’t anything ground-braking, just usual better understanding of herself and her family (in this case, her mother and her way of dealing with Momo’s father’s death), befriending other children of the neighborhood and understanding that you should think everything through before you say anything. Apart from Momo (and her mother), other human characters pretty much just were here to give a background and illustrate the peaceful life of a small town. The whole mood reminded me of Mamoru Hosoda’s films, and Momo herself gives the vibe of Makoto from Toki wo Kakeru Shoujo (The Girl Who Leapt Through Time) and I’m not even sure why. The three youkai of the film are a different sort of creatures.  I understand that they are supposed to be mischievous, selfish and mean, but I just can see barely any redeeming qualities of them. You can have many flawed characters and usually that’s a good thing, but even then they should be at least a little bit sympathetic or pitiful (like the whole cast of Neon Genesis Evangelion). Here I just see a bunch of random guys that do nothing until they come into trouble themselves. Maybe their incompetence was meant as a joke, but I’d rather look elsewhere – without atmosphere braking farting jokes. Probably the best I can say about them is that one of the youkai looked like a twin of Gollum form The Lord of the Rings, and another probably was some long lost cousin of Kimura from Azumanga Daioh.

Excerpt from the film; animation by Akira Honma

     The visuals is probably the strongest part of Momo e no Tegami – Production I.G again shows what they are capable of. The director Hiroyuki Okiura previously worked on Jin-Rou, as well as done some key animation under Mamoru Oshii and Satoshi Kon to name a few. Character designs were also done by him, so the quality and his realistic style were apparent. The backgrounds didn’t leave a lasting impression, nor did everything provide that sense of direction or carefully and masterfully built world that Ghibli films do. Nonetheless, even quite bland scenery had its moments and basically stayed just a scenery to give all the spotlight to the characters, whose movements, while nothing ground-braking, were perfectly smooth and, well, beautiful to watch.

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     The soundtrack, as the visuals, prefers to stay in the background and just give some light and often unnoticeable touches to convey the mood. Listening to the music alone was a very pleasant task and I was quite astounded how many of the tracks were just too faded in the film to be noticed. It’s very difficult to single out anything as pretty much the whole soundtrack remains very homogeneous, calm and soothing. The composer Mina Kubota specializes in exact same airy and atmospheric music where piano usually gets the leading role, so I have no complaints, except maybe the lack of something truly memorable and outstanding.

Excerpt from the OST: 'Shio Machi no Shima e'

Excerpt from the OST: 'Mimamori Gumi no San nin'

     Unexpectedly through the whole writing I have mentioned many an anime, and to think about it, it’s quite natural – Momo e no Tegami is no bad film by all means, but it just hasn’t got strong enough voice to become truly exceptional. Everything is just good – the story and the characters and the soundtrack and everything else – but not something you would remember for a long time. Yes, emotions were portrayed very well, the director has seen to it, but some nitpicks here and there don’t let me think of this film as something that can seriously rival Studio Ghibli production.

     I believe, this anime is


     If you need a not too complicated film that the majority of the time stays lighthearted, and can overlook some random and not that sympathetic youkai, you came to the right place. The film is not perfect, but for a lazy, relaxing and unimposing Friday evening you could chose far worse anime to watch than Momo e no Tegami.