Comic Book review: Tokyo Ghost, Volume One: The Atomic Garden

Despite cover art that might evoke thoughts of Akira and Mad Max, Tokyo Ghost falls nearer to the themes explored in Ghost in the Shell, with a presentation that teeters towards Tank Girl and Robocop. It is an extremist vision of a future controlled by one corporation, a world run into the ground with pollution and technological addictions. At the center of this story are Debbie, one of the few citizens of mega-city Los Angeles who has remained clean, and her boyfriend, constable Led Dent, a tech junkie who is known as feared as the most effective of enforcers in L.A.

Led Dent frequently tracks down those who have tried to cheat his employer out of money, or those who seek to upset the twisted dystopian order of the city. And Led carries out many of his jobs with extreme prejudice, destroying mechanical and organic obstacles alike. Debbie, meanwhile, does not think so highly of L.A., nor does she care much for Led’s employer, but she sees the jobs as a necessary evil, a means of escape from this world drowning in its own addictions and misery. While Led’s hulking form and beast of a motorbike play into much of the series visual ‘pop’, Debbie’s bright pink and purple color scheme denotes her livelihood, her hopes for a better tomorrow, and the fact that – even in such a rotten city – her soul is still filled with love for Led.

The series explains that, many years prior, Led Dent was a kid named Teddy. Debbie and Teddy fell in love, but as the world went to hell in a hand basket around them, Teddy felt weak, unable to protect Debbie, or himself, for that matter. Teddy subjected himself to a number of implants in order to become the gargantuan and fearsome Led Dent, but in doing so, sacrificed his soul and much of his free will. Seeing Led constantly jacked in to a series of radio and television feeds as he carries out his missions, Debbie is determined to get him clean, to bring back the boy she fell in love with, by escaping to Japan, rumored to be the last country on the planet devoid of technology.

The environments in Tokyo Ghost display and absurd attention to detail. Many signs and company names can be picked out from any single one of Tokyo Ghost’s cityscape panoramas, while the lush greenery, tranquil waterfalls, and feudal buildings of Japan present a stark contrast. It is a series that rides on the wilder side, with the gore and sex often being gratuitous to further drive home the notion that this future is controlled by selfish individuals whose concerns are not with the common folk. For those who grew up during the boom of cyberpunk anime and films, Tokyo Ghost may be worth a look. This first volume ends on a note that may leave readers a tad puzzled, even caught off guard. With that in mind, I feel it is worth stating that this is but the first act of Tokyo Ghost, and there is plentiful opportunity for the story to be elaborated upon in later volumes.

My rating: 8 (out of 10)

Anime review: Mobile Suit Gundam Thunderbolt

In similar vein to Gundam OVAs 0080: War in the Pocket and 08th MS Team, Mobile Suit Gundam Thunderbolt presents a small scaled conflict that is but a sample of a widespread war. It spends ample time detailing the life and struggles facing both Federation and Zeon soldiers, with the former hoping that a prototype Gundam and one hotshot, self-absorbed pilot will grant them victory over a ravaged sector of space marked by the debris of abandoned space colonies. The main Zeon forces, meanwhile, stand out from the pack as being almost exclusively amputees, with their main pilot out to prove his worth in beating back the Federation forces, while also looking out for his friends and comrades-in-arms.

Gundam Thunderbolt is a very short watch. Four episodes clock in at less than twenty-five minutes a piece. But the series does not lack polish – following in the footsteps of Unicorn and The Origin, the digital animation nears movie quality, with a decidedly darker atmosphere to many environments, further playing up the desperate measures taken during the One Year War. This visual style is strikingly appropriate, given that Thunderbolt explores the motivations of the two lead pilots in great detail, as well as explores the horrible atrocities both factions carried out in hopes of securing their victory over what is essentially a mole hill compared to the ‘mountains’ of Zeon strongholds like Solomon and A Baoa Qu. If there was ever any doubt that both the Federation and the Zeons could be responsible for some morally questionable, unsettling tactics, you need look no further than Gundam Thunderbolt.

And that’s a large part of what makes Thunderbolt such a worthwhile watch; it packs a hard punch, with mature themes and few real ‘heroes’ in the mix. It also boasts an incredibly catchy, upbeat soundtrack that samples jazz, funk, and love ballads, all of which presents an eerie, yet wonderful contrast to the narrative themes at play. If nothing else, Thunderbolt is worth giving a shot for its Cowboy Bebop-flavored tunes, and worth sticking around for the escalation of power and subsequent devolution of humanity.

My rating: 8 (out of 10)

Anime review: Berserk: The Golden Age Arc

A retelling of the 1990s anime, Berserk: The Golden Age Arc consolidates those events into three films to convey the most well-known narrative involving Guts, Griffith, and Casca. It’s the most obvious jumping off-point for newcomers to the Berserk story, and would seem an appropriate first step in setting the stage for everything else within the Berserk storyline, though, until very recently, no plans to adapt the remaining volumes of the manga were apparent. As is sometimes the case with condensing series into a set of films, the pacing is not the same across the board, which might not be a major point of discussion, were it not for the fact that this element significantly impacts the quality of each of the three entries in the Golden Age Arc.

The first film does a solid job of setting the stage and introducing all of the key players. The supporting cast is shown to be a plucky bunch, with a couple of them being young and naïve, and one in particular being a bit more greedy and self-serving, but they all display a great deal of respect towards Griffith, leader of the Band of the Hawk. Due to his legacy having already been established before the first film even begins, Griffith come across as the most well-rounded and interesting character for this first of three chapters. Guts, meanwhile is given just enough development as a strong-willed warrior lacking any real direction in his life to allow viewers to latch on to him as the trilogy’s main hero, though most of his meaningful maturation will follow in the later films. Casca, meanwhile, first appears as something of a snotty spoiled brat, who, like her comrades, is also highly devoted to her comrades, but seems to bear a grudge against Guts from their earliest meeting.

A medieval setting is established, as well as how the Band of the Hawk are effectively mercenaries for hire, though tales of their victories have spread far and wide, and many of the trilogy’s villains recognize their record of success. There are mythical fantasy elements at play in Berserk, though these are not met in full force until the final film in the series. When Guts encounters one such beast at the end of the first film, it provides not only a test of his strength, but also offers an omen of events to come. This is the first in a series of key events, where the darkest of settings and most intimidating of encounters offer Guts greater insight into the nature of the world around him.

The first film does a solid job of putting all of the pieces in their rightful places, and though it does feel like it wanders from the straight and narrow on a couple of occasions, its pacing is overall appropriate – a far cry from the second film, whose bookends offer the only substantial moments of development for Guts, Casca, and Griffith. Mind you, when these events do come to pass, they are of great importance to the larger tale being woven between these three films. But the hour-long battle they sandwich is neither visually exciting, nor of significant importance to the narrative. The second film does well to take a step back from Griffith a bit, in order to better establish Guts’ ideals and ambitions, as well as prove that there is much more to Casca than meets the eye. This second entry ends on a high note for both of these characters, while still allowing them both plenty of development in the third and final entry, but the absurd span of empty fight scenes not only makes it a dull watch, it also leads the third film to feel rushed.

The Golden Age Arc is my first proper viewing of Berserk, though I’ve been familiar with Griffith’s endgame for many years. For those not aware of how the Golden Age Arc concludes, I will warn that some spoilers regarding the film’s most infamous of moments lie ahead.

The final film dives into some very dark territory, and sees Guts and Griffith part ways as anything but comrades and friends. For many years, I was under the impression that Griffith’s actions in the third film resulted from some tragic fall from glory, that he lost sight of who he was as a leader and hero to so many. Instead, it is a simple matter of him becoming upset over Guts trying to choose his own path in life, and Griffith not having complete influence over his actions that leads him to perform some horrendous atrocities. The climax for a character who proved so compelling during the previous two films ends up being an unsatisfying reveal of pathetic motivations.

And therein lies what is perhaps the greatest downfall of the Golden Age Arc – character motivations on the whole are either incredibly poor, unclear, or wholly nonexistent. Casca is the one major exception to this, offering the most human and believable reasons for joining the Band of the Hawk, for allying with Griffith, and for ultimately turning to Guts as her ally and lover. Guts, meanwhile, sees establishment as the main hero of the Berserk saga by the time the third film comes to its conclusion, but nothing beyond that is achieved. This trilogy feels like the first act of something larger, which may be fine for anyone wishing to carry on with the manga thereafter. There are elements of greatness at play in the Golden Age Arc, but the second and third films constantly deny these to become part of a more cohesive experience. The Golden Age Arc lacks any noteworthy resolution, and leaves viewers with an unsatisfying set of hanging plot threads.

Fans of the 1990s anime might not be so greatly bothered by these shortcomings. Guts, Griffith, Casca, and the remaining members of the Band of the Hawk are rendered with strong animation, while environments look equal parts gorgeous and haunting. Cel-shaded 3D models of knights in armor look a tad clunky and dated, but are generally not present outside of battle scenes, so they do not distract from the remaining visual appeal too greatly. If this trilogy is in fact the jumping off point for someone looking to continue indulging in Berserk by reading the manga, they may find decent value here – the films offer a handful of teases of characters and events that play important roles later on. But as a standalone trilogy, they feel like odd shoehorns. The fact that Guts does not fully come into his own as lead protagonist by the trilogy’s conclusion further sours the experience.

My rating: 6 (out of 10)

Comic Book review: Saga, Volume 5

It’s now been multiple years since Alana and Marko began their life on the run from the many factions that view their hybrid child Hazel as a bargaining chip or threat to galactic stability. As the fourth volume saw Alana, her mother, and Hazel forcibly separated from Marko thanks to the actions of one misguided and extreme janitor, this fifth volume bounces back and forth between the ferocity with which Alana will defend her daughter and the uneasy alliance forged between Marko, the now-exiled Prince Robot IV, coastal rancher Ghus, and thespian/drug addict Yuma. There is a also, a secondary plot concerning The Brand, Sophie, Lying Cat, and Gwendolyn, as they search for a means to revitalize The Will, who is still out of commission.

This fifth volume of Saga does well to focus the spotlight back on Alana and Marko more so than the previous two volumes did, but it does teeter back and forth in uncertainty as to whether or not it wants to redeem these two main protagonists. While they may be worlds apart from each other for the majority of this most recent volume, their thoughts of one another do weigh heavily, as their last interaction before they were torn apart was one of confrontation and hurtful words. And yet, while Alana does appear to bear some degree of regret over her exchange with Marko, her cunning and maternal defensiveness are somewhat undercut by the fact that she doesn’t seem to give a rat’s ass about anyone other than her own family. Marko, meanwhile, decides to turn to the drugs he so abhorred to escape his feelings of guilt over losing track of his family, and even displays a savage nature from seemingly out of nowhere.

While not nearly as overwhelmed in its attempts to juggle multiple story threads as the previous volume, this latest entry still feels a bit thinly stretch as more characters are introduced to the already burgeoning cast. Many of these newcomers see their stage exits by the end of this fifth volume, but it’s still almost too much on the plate when you consider the number of characters who have held minimal importance on the larger plot for the past two volumes. And at the end of this collection, there’s merely more cliffhangers and open-ended threads, with not but a few subplots being resolved by this trade paperback’s conclusion.

While Saga’s adult language and ‘edgier’ presentation factor were amusing early on, they have since become obnoxious elements of its identity. The series tries too hard to jam vulgarities into every other sentence, and the sexual imagery is largely without purpose – it’s perfectly acceptable to explore the relationship Marko and Alana forged during or even prior to Hazel’s conception, but it’s wholly unnecessary to show the act of a dragon fellating itself for a cheap laugh or ‘shock value’. While not as sour an entry as the fourth trade paperback, this fifth volume of Saga only does so much to return the series to the spark of imagination and intrigue, as well as the focused path that were so prominent in its first two collected volumes. As much as I wanted to continue enjoying Saga, I feel these most recent releases have turned me off to the series enough that I can confidently state that this is the end of my investment in Brian K. Vaughan's space opera.

My rating: 5.5 (out of 10)

Comic Book review: Age of Ultron vs. Marvel Zombies

Among the wilder concepts to come of Marvel’s 2015 Secret Wars event is the four-part Age of Ultron vs. Marvel Zombies. On the far edge of Battleworld, a giant wall has been constructed to keep the more problematic creations from Marvel’s comic history quarantined – those problems, of course, being the undead hordes of Marvel Zombies fame and the ever-evolving rage-filled A.I. known as Ultron. The Zombies wish only to devour those individuals who are tossed into their so-called Deadlands as punishment by the Thors for breaking God Emperor Doom’s laws, while Ultron seeks to eradicate the zombies and their impure nature in his quest to perfect this no-man’s land.

While this is certainly a curious pairing, it would prove a tiring conflict very quickly were a third party not introduced. At the start of this limited series, a version of Hank Pym from the wild west town of Timely is banished to the Deadlands. With little to defend himself and limited knowledge of the Battleworld realms beyond Timely, Hank would most certainly be a goner, were it not for the arrival of Vision, Simon Williams, and Jim Hammond. The trio rescues Hank Pym, bringing him to their makeshift fortress/home in the middle of this desolate region, with the hopes that he might be able to create a counter to Ultron and his devious machinations.

This stranger-in-a-strange-land Hank Pym is, naturally, taken aback, having practically zero knowledge of their modern technology. But he did manage to partially construct a clockwork equivalent of Ultron once upon a time, and, after some convincing, agrees to aid these three synthetic men. Vision, Simon Williams, and Jim Hammond, are not the only three whose lives are factored into Pym’s decision, as there are many other survivors living in their shielded community – most notably, the love interests of these three heroes.

What lends Age of Ultron vs. Marvel Zombies to be a more compelling tale than the cover art might let on is the juxtaposition of this bleak environment and its terrifying armies with a focus on classic Marvel heroes, all of whom have previously struggled with the concept of what it means to be a man versus what it means to be a machine, and where they fall in that spectrum. Hank Pym, meanwhile, is more so the tether that binds the story together.

There are some more frequently vocal members of the undead hordes, which lends the zombies some personality beyond shambling, starving husks. And the situation becomes even more so dire when Ultron proposes a plan that could unleash both armies on the rest of Battleworld. At four issues in length, Age of Ultron vs. Marvel Zombies has nearly-perfect pacing. It incorporates daring science projects, golden age heroism, and a nicely varied but appropriately-contained cast. It has fun with its diverse roots, embracing its oddities and weaving an entertaining and well-rounded narrative.

My rating: 7.5 (out of 10)

Comic Book review: Captain Marvel, Volume Two: Stay Fly

My review of Captain Marvel, Volume Two: Stay Fly. Written by Kelly Sue DeConnick, illustrated by Marcio Takara and David Lopez.

My rating: 7 (out of 10)

Comic Book review: Saga, Volumes Three and Four

My review of the third and fourth volumes Saga. Written by Brian K. Vaughan, illustrated by Fiona Staples.

My rating for volume three: 7 (out of 10)
My rating for volume four: 3.5 (out of 10)

Comic Book review: Saga, Volumes One and Two

My review of the first two volumes of Saga. Written by Brian K. Vaughan, illustrated by Fiona Staples.

My rating for volume one: 7.5 (out of 10)
My rating for volume two: 8 (out of 10)

Anime review: 5 Centimeters per Second

5 Centimeters per Second is the story of a young man and his relationship with a childhood friend/classmate and how it changes over the years. The film is divided into three segments, with the total runtime being just over an hour. The first segment focuses on protagonist Takaki Tono’s first meeting and befriending Akari Shinohara in elementary school, and the two eventually coming to develop romantic feelings for one another. As Akari has moved to another town out in rural Japan, the story juggles the letters the two exchanged during their time apart following elementary school with Takaki’s journey by train through a grueling snowstorm to visit her. This first segment is heavy on the backstory, but does well to shape the two lead characters and ends on a simple, if not heartwarming note.

The second segment focuses on Kanae Sumida, a classmate of Takaki’s who has long admired him from a distance but never worked up the courage to confess her feelings to him. She spends many of her afternoons surfing and confiding in her sister – little illustrations of what makes her tick as a character. Unfortunately, we don’t learn much more about Takaki or see any real further development for his character – all we learn in the second chapter is that he’s taken up an interest in space shuttles and that he’s still holding out for Akari. While Kanae is an interesting enough character whose dynamic with Takaki is notably different from the one he shared with Akari, it’s strange that the majority of this segment would be devoted to Kanae’s observations of Takaki instead of providing a personal account of what’s going on in Takaki’s life delivered directly by him.

The second portion is especially odd as it bears little real significance to the third segment, in which Takaki and Akari are now both adults, living separate lives, though Takaki clearly still keeps her in his thoughts. Here we see a sample of (what is seemingly implied to be one of many) Takaki’s most recent relationship, which apparently lacked real substance and eventually fell apart. Or perhaps it was due to the fact that, even after all these years, he still holds on to the glimmer of hope that he and Akari will wind up together, despite living in different parts of the country and now having significantly different personal priorities.

5 Centimeters per Second’s animation is phenomenal. The way the snow pummels down slowing the train conveys a real sense of nature’s power, while the falling cherry blossom petals are gentle and brightly colored. The film does take to the ups and downs of romantic relationships and the (often innacurate) perceptions of them in a real, believable manner. It doesn’t forcibly end any of the segments on a happy note or a sad note, per se, though portions of its overall execution are questionable and leave something to be desired.

My rating: 7.25 (out of 10)

25 Days of Anime - #5: Mobile Suit Gundam: 08th MS Team

On quite the opposite end of the spectrum as the hopeful and adventure-oriented Turn A Gundam is the gritty and extremely realistic vision of mobile suit combat as presented through Mobile Suit Gundam: 08th MS Team. This OVA follows Shiro Adama and his ragtag group of Gundam pilots as they combat Zeon forces in the jungles of Asia. Because they are using production model ground-type Gundams, their offensive measures are nowhere near as dynamic as the capabilities presented to Kamille Bidan in his transformable Zeta Gundam or even Amuro Ray in his original Gundam RX-78-2. The armor used on the ground-type Gundams is nowhere near as durable as that of its more famous counterpart, and as a result the combat scenarios become far more tactical and interesting.

Every mission is carefully planned by Shiro, and he relies on his teammates to bond as a unit (even if that process is gradual and they don't feel any real reason to respect him on his first day planetside). Shiro interacts with local villagers, and through this the series does a great job of painting a very vivid picture of a small, contained environment, whereas some other Gundam series tend to aim for a grander scale. The storytelling is arguably where 08th MS Team makes the strongest divergence from traditions of the Gundam franchise. Not only is the Earth Federation's perspective presented through Shiro, his squadmates, and a handful of superior officers, but members of Zeon get a fair share of time in the spotlight as well. Aina and Gineas Sahalin are members of one of Zeon's noble families, and Aina looks after her brother whose illness and stress over research projects meant to act as trump cards of the Federation forces cause him a great deal of stress. Before she even arrives on Earth, Aina has a chance encounter with Shiro, and the two eventually find themselves caught up in a difficult romance scenario.

What follows is a gradual mounting of attacks from one faction against the other. Zeon continues research and development of the mega-powerful mobile armor Apsalus, while the Federation forces constantly target key Zeon bases in an effort to push back their enemies. Shiro and Aina both question the morality of what they are fighting for, and as a result Shiro is brought before a Federation council for interrogation on his true allegiances, while Aina tries to convince her brother Gineas that the Apsalus project is not worth risking both his physical and mental well-being for. The combination of a classic Romeo and Juliet love story barred by a larger conflict plays out interestingly in this Gundam setting, and makes for one of the best Gundam series ever made due largely to the fact that it is driven by quality storytelling that knows exactly where it is going from the outset and does not find itself bogged down by unnecessary subplots.

25 Days of Anime - #22: The Girl Who Leapt Through Time

One of those feel-good films for viewers of all ages, The Girl Who Leapt Through Time tells the story of Makoto, a high school girl who is characterized by her quirky behavior and somewhat bold nature. Her friendship with Kosuke and Chiaki is addressed early on, and becomes increasingly important as she faces social pressures and internal conflict. On the one hand, Makoto likes things just the way they are - with her being friends with both boys. On the other hand, she wants to help Kosuke work up the courage to ask another girl out while simultaneously wrestling with her uncertainty over the future of her relationship with Chiaki.

The Girl Who Leapt Through Time is a curious film - it combines a traditional teenage drama scenario with the element of time travel. There is no physical time machine and no ritual that needs to be performed before Makoto makes the leap backward or forward. Instead, she can simply jump at will, with her actions having rather drastic effects on the events that she alters. It isn't until she has a very limited number of jumps remaining that she realizes her mistake.

The Girl Who Leapt Through Time is presented with gorgeous animation. The three main characters are wonderfully realized, and though the story does not spend much time on the remaining cast members, both Makoto's sister and aunt are well-rounded and present interesting perspectives on Makoto's actions (the former having an incomplete concept of just what Makoto is doing, while the latter knows exactly what is going on). It's a great story that is rooted in rather simple origins, and taps into the inner teen and all the pressures and confusion one faces during those years.

25 Days of Anime - #23: Spice and Wolf

Taking a drastically different approach from the previous two entries on this list, Spice and Wolf is not a series that features any notable fight scenes. There are tense moments of conflict, both internal and external, and Kraft Lawrence finds himself attempting to outrun pursuers on a few occasions. But Lawrence and wolf goddess Holo play wits and economic knowledge to their favor in hopes of besting both rivals in the market and enemies they inadvertently make during their travels.

The two share a highly entertaining relationship, with each understanding how to best exploit their customers for a higher return on their products. Lawrence is more familiar with the value of goods and fluctuations in the market, while Holo has a better understanding of how to influence human emotions - unusual character traits to ascribe to protagonists. But Lawrence is interested only in earning his way and making a name for himself, and wishes to keep on good terms with his customers. At the same time, Holo's role as a wolf goddess who has lost her way makes the two valuable assets in the eyes of more selfish individuals.

Holo and Lawrence butt heads at times, with Lawrence usually feeling guilty as a result (whether he was actually at fault or not) and Holo doing some self-assessment. In turn, her sly behavior results in greater earnings for Lawrence, which she uses as a means of apology. Though Holo believes herself superior to humans, she does find their nature amusing, considers Lawrence among the most impressive people she has encountered, and enjoys her fill of apples and ale (the latter of which brings out her silly and carefree side). Holo develops a strong bond with Lawrence, and while it is never explicitly stated, Holo drops a number of hints - more prominently in the second season - that she may in fact be falling in love with this human.

The world realized in Spice and Wolf is heavily inspired by old world European culture. The architecture of buildings and use of horse-drawn wagons for transportation implies a medieval-era setting. The soundtrack is heavy on strings and vocals, and all of this makes for a very believable world, where magic exists only in its farthest reaches.

Anime review: Howl's Moving Castle

Sophie is a girl who spends her days working at a hat shop. She leads a rather average life until one day she encounters the magician Howl, who is on the run from agents of the Witch of the Waste. After helping Howl get to safety, Sophie is turned into an elderly woman by the Witch of the Waste and decides to leave her home in order to try and have the curse reversed.

Eventually Sophie comes across a gigantic moving castle, cobbled together from portions of various buildings and supported by four thin legs. She enters to find it is powered by a fire demon named Calcifer who – despite his claims of greatness – is rather harmless. After meeting Calcifer and then Markl, Sophie is introduced once more to Howl who is the owner of the castle. Howl explains that the Witch of the Waste once convinced Howl to be her lover, but upon seeing her true form, Howl left. Thus, the Witch of the Waste decided that if she couldn’t have his heart then no one else could.

During her travels with Howl and his apprentice Markl, Sophie becomes the self-proclaimed housekeeper and mother figure. She spends a bit of time early on in the film cleaning up the castle and later on convinces Howl to get over a number of his temper-tantrums. A large focus of the story is put on Sophie’s romantic interest in Howl and the challenge she experiences in appearing so much older than him. As a main character, Sophie is very relatable and entertaining in subtle ways. Howl, on the other hand, is a notably weaker lead character with his immature nature. His eccentric personality does make up for this a bit, but the fact that he is absent for large portions of the film makes it difficult for viewers to grasp a firm idea of who Howl really is. Because of this, Calcifer and Markl shine through as more fully-developed characters.


Miyazaki caters to the child in everyone with whimsical elements including an enchanted scarecrow, a magical door leading to various locations, and Howl’s transformations. Some inclusions are throwbacks to some of Miyazaki’s older works, such as the giant military airships and the goop-bodied minions of the Witch of the Waste. Howl’s Moving Castle does play out as an anti-war piece and detracts the plot a small amount, but this is only touched on briefly.

There are a few plot elements that are never fully explained, such as where the black dial on the magic door actually leads to. It’s easy enough for viewers to assume that the black dial leads to Howl’s past, but this doesn’t seem to be consistent with its earlier appearances in the film. If this were meant to be left up to viewer speculation/interpretation, Miyazaki doesn’t do a very good job in expressing that, but at the same time such vagueness isn’t generally his style. It might just be my own personal nitpicking, but I feel that this, as well as few minor story bits, could have been better explained.

In contrast to the majority of the rest of the film, the conclusion is rather clumsy. After so much buildup and action, the story hits the brakes and goes back in time to explain Howl’s past, and then suddenly returns to present day where everything is hunky-dory. It’s almost as if Miyazaki had no real conclusion in mind and decided to combine portions from multiple endings he envisioned. In this regard, Howl’s Moving Castle has a notably weaker conclusion than many of the other Studio Ghibli films.

The art style is similar to many Studio Ghibli films before it, with a number of steam-powered vehicles and cartoony characters populating the film’s scenes. The lighting variation is phenomenal, though some of the background details seem a bit lacking at times. It might not be the most creative in terms of animation, but it’s certainly not overly weak in that regard either.


The English dub voice actors seem fitting to their respective roles for the most part, though Jean Simmons as Sophie and Christian Bale as Howl both seem to be talking too softly throughout the majority of the film. Lauren Bacall provides a fitting voice for the devious Witch of the Waste, despite the character’s minimal number of lines in the latter half of the film. Easily the best voice actor in the English dub, however, is Billy Crystal as Calcifer, whose trust issues fuel much of the comedic interaction with Sophie and the others.

There are few people who would honestly say there is such a thing as a bad Studio Ghibli film. Howl’s Moving Castle is a fantastic adventure for viewers of all ages. It does a wonderful job of balancing action with story, never letting go of viewers’ attention. That said, there are some technical issues that could have been worked out, particularly in the English dub, and the conclusion could have benefitted greatly from better cohesion.

My rating: 7.75 (out of 10)

Anime review: Spice and Wolf (season two)

At the conclusion of the first season of Spice and Wolf, Lawrence and Holo managed to outwit the Remerio Company and left for other business ventures, but not before aiding Nora in finding her own courage to stand up for herself and break away from her job as a shepherd. With the overarching story of season one so nicely wrapped up, I was concerned that season two would be a completely unrelated journey that would struggle to get on its feet and carry a weaker narrative narrative than that of season one. Thankfully, I was only partially correct – the events of the second season are, for the most part, unrelated to those in season one, save for the obvious continuation of Lawrence and Holo’s story. There are some notable changes from the storytelling style of season one – some for better and others for worse – but ultimately season two comes out stronger than its predecessor.

The story is notably darker this time around and the story far more serious. Nothing is spared in regards to the show's humorous segments, however, as these are particularly clever in both content and their placement in the series' events. The mythological aspects of Spice and Wolf are explored in greater detail and Lawrence’s trades become increasingly greater gambles with the potential for even greater rewards (and not just those of monetary nature).


Whereas the first season put greater emphasis on Lawrence, season two is largely centered around Holo and her past. Her travels with Lawrence have made her far more comfortable around him and she acts more mature, putting behind herself some of the childish behavior seen in season one. In this regard, Holo herself is less humorous, but the dynamic between Lawrence and Holo is genuinely entertaining and will evoke plenty of laughs from viewers. If however, some viewers found Holo’s antics is season one to be annoying, they can rest assured that her personality has changed a bit – not so much that it becomes difficult to recognize her as the same character, but enough that it becomes obvious from a very early point in season two as to how much Holo has matured.

Season two's pacing is a bit faster than season one, picking up right where the story last left viewers. Lawrence, with little information to work with, begins asking around for information about the lands to the North, in hopes of locating Holo's homeland and keeping his promise to her. However, things become sidetracked when Lawrence makes a gamble with a rich young local named Amarty, and the two essentially compete for Holo's companionship. It is during all of this that Lawrence begins to deeply question his true feelings toward Holo. Due to the more specific focuses of the plot in season two, viewers can expect to see fewer locales and environments as the backdrop for Spice and Wolf.

The side characters in season one, though few and far between, were well-rounded and usually very engaging. The side characters in season two are still enjoyable, though their development leaves something to be desired in most cases. They are generally used to tie plot elements together, and while they aren’t stereotypical or bland, per se, they aren’t fully rounded or the most well-developed. In this regard, viewers should feel relieved that the two main characters remain the only main characters over the course of the second season.


The one major exception to this, however, is a merchant by the name of Abe, who offers a partnership deal to Lawrence in fur trading. Abe is shrouded in mystery during her first few appearances, but slowly exposes who she is and what her intentions are as each episode progresses. Abe's story as a large driving force behind the second half of season two causes the pacing to slow down considerably, but this seems quite fitting to the overall darker mood of season two, as well as the intricacies and complexity of the relationship Lawrence, Abe, and Holo forge.

The soundtrack is comprised of a number of new pieces following a similar formula to those in season one. Though the use of strings and woodwinds does sound superb, there are fewer distinctly seperate pieces used in season two, so viewers are certain to hear familiar sounds over the course of the story. The animation is a significant step up from that of season one, which was impressive in and of itself. The lighting effects and attention to detail really make season two shine through and set it at the caliber of a standalone full-length movie. Part of this is likely due to the fact that there are only twelve episodes in comparison to many series capping at twenty-five or fifty. Nonetheless, the animators should be commended on a job very well done.


The Japanese voice actors make a triumphant return and convey emotions even better than in season one. Newcomers to the cast seem to flow pretty smoothly with the overall portrayal of the characters and focus of the plot. The series is, however, about Holo and Lawrence in virtually every way possible and it's comforting to see how the voice actors for these respective characters seem to 'click' with one another even more so than in season one, making their interactions more convincing.

The finale throws a major plot twist that many viewers won't see coming. With a tense buildup and emotional performances from the cast members, the finale is executed masterfully. The finale is neither sunshine-and-rainbows happy nor so depressing that it would cause fans to cry out in an uproar. Instead, the conclusion is fitting in every way possible, offering a very satisfying conclusion to Holo and Lawrence's story.

Season two improves upon most of the flaws in season one, though there were few flaws to begin with. There is a small amount of experimentation with characters and plot in season two that will likely cause a bit of controversy among viewers, but for the most part this aids Spice and Wolf’s presentation. It was a very unique story idea in season one, with Holo and Lawrence relying on wit to outdo their foes and it’s comforting to see that things feel relatively fresh in season two. It may not be as original, but season two of Spice and Wolf is more focused and delivers a more serious story without sacrificing the light-hearted elements.

My rating: 8.75 (out of 10)

Anime review: Mobile Suit Gundam Wing

Years after it aired on Cartoon Network's Toonami block, I decided to give Gundam Wing a second chance, as I didn't really get into the series back then. I was never particularly fond of the combination of Victorian-style clothing and architecture with space-bound mecha, but at the same time I figured it was a minor annoyance and more of my own personal nitpicking at the series. The further I got into watching Gundam Wing, however, the more and more I realized that the Gundam series are split into two seperate story types for a reason. Those who are fans of the Universal Century series follow it due to its more realistic scenarios and continuous story from varying viewpoints. Most Universal Century series are, at worst, considered to be 'decent' and, at best, considered to be 'great'. Not every one of the Universal Century series is going to be ranked as highly as others, but there are very few Universal Century series that Gundam fans would generally consider to be 'bad'. The Alternate Universe series, on the other hand, vary greatly and are meant to cater to a wide variety of viewing tastes. They are not directly connected, by neither creative staff nor plot and characters, and this variations boils up more opinions (and often harsher criticism).

Gundam Wing carries a very ‘spy vs. spy’ feel about it, with the Gundam pilots acting against Treize’s regime and the Oz forces on behalf of organizations within the colonies’ populations. The Romefeller Foundation acts as the governing organization for both Oz and Treize with their immense wealth and prestige, yet it becomes obvious early on that Treize and Romefeller have a difference in ideals. The threat of the Gundams shakes things up for Oz and the Romfeller foundation, and the Gundams become a prize of sorts in order to assure the stability of the plans of the various factions that are ultimately caught up in the conflict.

The lead characters are elite pilots selected by the colonies due to their combat capabilities and their focus on the battlefield. While it makes sense that each of the five pilots should be quick to react in a tight situation, as well as have a great deal of intel on enemy units and the like, they often tend to jump to conclusions without much evidence between their claims and the subsequent actions taken. Interestingly enough, this only works to their disadvantage on a small number of occasions over the course of the show, but following gut instinct isn’t a particularly practical way to go about the events of the series and ends up making the story more and more predictable as things progress.


The characters of Gundam Wing are a mixed bag, with the antagonists more often than not being more interesting than the protagonists. Granted, Treize Khusrenada and Zechs Marquise make for the most intriguing antagonists as both higher-ups in the system as well as Gundam pilots. Treize is an unorthodox leader for Oz with his own ideals about what humanity should be fighting for, and these contradict much of what the Romefeller Foundation wants. His cleverly laid-out plans over the course of the series almost always ensure that Treize is on top and he completely avoids being a cliché villain – in fact, to call him a villain isn’t entirely accurate. Zechs is one of Treize’s closest friends and allies at the start of the series, while focusing on the future of his former home of the pacifistic Sanc Kingdom. Zechs aligns himself with a number of factions over the course of the series and finds the Gundam pilots to be both his enemies and allies as things progress. Treize’s other close ally and underling is the ever-cruel Lady Une who keeps her troops in line with her cold-hearted attitude. She believes the Gundams to be a severe threat to Oz early on, but later on she develops a split-personality and preaches peace to the colonies. These two personalities greatly conflict with one another and lead many of her troops and contacts to become incredibly confused with regards to her intent for the colonies.

There is pratically no information revealed to the viewers about the five main characters of Wufei Chang, Trowa Barton, Heero Yuy, Quatre Winner, and Duo Maxwell. In fact, secondary characters such as Noin Lucrezia, Relena Peacecraft, and Sally Po lead more interesting narratives. This, combined with the fact that the English dub voice actors deliver a strikingly minimal amount of emotion makes it difficult for viewers to associate with or enjoy the characters. The only three characters in the series that are performed well by their English dub voice actors are Quatre (voiced by Brad Swaile who voiced Amuro Ray in the original Mobile Suit Gundam), Duo (voiced by Scott McNeil), and Noin (voiced by Saffron Henderson). Many of the actors provide voices for Oz soldiers and characters who make brief appearances, so viewers can expect to hear Quatre, Heero, Trowa, and Zechs’ voices from a multitude of minor characters. Gundam Wing was one of the first Gundam series to receive an English dub and as such a certain amount of leniency should be allotted in regards to the voice acting. Even so, Gundam Wing is easily the weakest dubbed Gundam series, as well as one of the weakest dub of any anime series, that I have seen to date. In contrast, the original Japanese voice actors put forth ridiculous emotions that make the characters seem more fit for a soap opera or teen drama series, removing practically any believability from that part of the viewing experience.

If there is any single character that proves to be the most frustrating, it would easily be Heero Yuy. Quatre is the most level-headed, Duo brings some flair and humor to the battlefield, Wufei is calm and collected, and Trowa is a master of deception, so one would think that there would be some unique characteristic given to sum up Heero Yuy. However, he shows absolutely no emotion over the course of the entire series and it’s difficult to tell if he even cares about anyone but himself, as he willingly teams up with the other Gundam pilots but points out their shortcomings and failures when things go wrong. Heero tells many people over the course of the series that he must kill them in order to complete his mission, but very rarely does he actually go through with it. What Heero says he intends to do and what he believes in conflict on multiple occasions with what he actually does. It’s true that Heero is probably the most perfect soldier out of the five Gundam pilots, but he’s so uninteresting that it almost becomes a chore to watch any scene involving Heero, due his lack of emotion and unexplained background.


There is a nauseating amount of monologuing that goes on over the course of the series. Some characters, such as Treize and Zechs, actually carry across ideas that are well-thought-out and could be put into practical application to either alter the path of the war or aid the world after its conclusion. But when the Gundam Pilots or Lady Une monologue, they try to make simple ideas far more complex than they need to be and manage to drag out a single sentence into multiple paragraphs of spoken lines.

The mobile suit designs are very creative and combine more stylized elements of previous series like ZZ Gundam and G Gundam with more practical weaponry and capabilities such as those in Stardust Memory and Zeta Gundam. The transforming capabilities of the Wing Gundam and Wing Zero Gundam are obvious nods to the Zeta Gundam, but do so with such fluidity and sleek designs that it’s clear how the designers wanted to stylize the mobile suits.

The art style is a bit lacking in comparison to other series from the mid-1990s. It isn’t downright terrible, but character animations are stiff and objects in the foreground are often less detailed than the backgrounds that accompany them, so a number of improvements could have been made. Thankfully, the number of repeated animated sequences is kept to a minimum. Battles between mobile suits do tend to follow similar patterns from time to time, however, particularly when combating the unmanned mobile dolls. The soundtrack that accompanies the series is effective, though not particularly original or complex. It is comprised almost exclusively of keyboard and synthesizer parts, and pieces are repeated many times over the course of the series though, so viewers can expect to be hearing the same sounds time and time again.


Gundam Wing delivers a solid story with many small yet effective plot twists that flow very smoothly with the overarching plot. The fact that the story is told from various viewpoints makes for a more engaging viewing experience. Unfortunately, the coupling of this with such an uninteresting cast of characters makes some episodes seem like more of a chore than others and Gundam Wing as a whole is a notably weaker series than most others in the Gundam franchise. The final six or seven episodes really turn things around as the animation improves a bit, the major characters become more complex and distinct from one another, the story becomes even darker and more intriguing – heck, even the English voice actors seem to finally get a grasp on giving their characters believable levels of emotion (Heero Yuy included). But this all comes into play so late in the series, making the viewing experience overall more than just a bit frustrating. I understand the important role Gundam Wing played in getting many Western viewers interested in both the Gundam franchise as well as anime as a whole, but if you haven’t yet seen Gundam Wing you’d probably be better off skipping it unless you’re a die-hard Gundam fan.

My rating: 6.75 (out of 10)

Anime review: Suzuka

The anime adaptation of Suzuka covers only about one-third of the entire manga series. Whether this was done deliberately to avoid the more adult themes explored later in the manga or if there were plans to continue the anime that never fell through is unclear. However, this review is about the anime as a separate work from the manga, as personally disappointed as I am that the anime did not continue the story.

The series follows Yamato Akitsuki as he moves to Tokyo to attend high school. He lives in an apartment complex owned by his aunt and has his rent paid for in exchange for his janitorial services. One day Akitsuki notices a girl practicing the high jump after school and becomes intrigued with her. He discovers her name to be Asahina Suzuka and shortly thereafter realizes that she lives in the same apartment complex. Smitten with Suzuka, Akitsuki decides to join the track and field team. However, Honoka, a girl from Akitsuki’s past, has feelings towards him that she has been harboring ever since they were young. Determined to overcome her shyness, she joins the track team as well, acting as the team’s towel/water girl.


Early on, the series sets up this love triangle that causes much of the drama to unfold, allowing for the characters to develop along the way. All in all, this works fairly well, though there are times when the series has to back-track for a while to explain events, such as Honoka and Akitsuki’s first meeting and Suzuka’s middle school track career.

As Akitsuki becomes more and more interested in Suzuka he tries to work up the courage to ask her out, and Suzuka asks him to go to with her to an amusement park, more out of coincidence than anything else. At the end of the day Akitsuki asks Suzuka to become his girlfriend and is quickly rejected. What follows is Akitsuki’s attempts to get back on good terms with Suzuka but also his confusion between the two girls when Honoka expresses her feelings towards Akitsuki.

Surprisingly enough for a teen drama, the characters are quite well-rounded. Akitsuki is both determined to win Suzuka’s heart, but also stubborn and easily manipulated by his classmate and ‘friend’ Yashunobu. Yashunobu is the kind of character who comes across as a sleazy player, thinking of himself as a ladies’ man and constantly trying to impress his peers. He doesn’t always think things through before acting, though he tends to present himself as mature and collected in front of adults. Honoka is the shy nice girl who wants to be with Akitsuki in hopes of improving her self-esteem, and although things don’t always work out to her advantage she tries her hardest to look on the bright side of things and inevitably does find confidence in herself by the end of the series. Suzuka’s story is left shrouded in mystery until later in the series, though viewers can gather early on that she is a very determined individual and that she wants to avoid entering a relationship with Akitsuki. The reasoning behind this, however, isn’t explored for a while and becomes one of the more interesting and creative plot devices. Finally, Miki is one of Suzuka’s best friends and a sprinter on the track team. She is full of energy and sympathizes with both Suzuka and Akitsuki even when the two are thinking differently. Miki is constantly at odds with Yashunobu, calling immature time and time again for his various schemes to supposedly help Akitsuki in his romantic endeavors.


There are a notably small number of characters in the series to begin with, and aside from the main characters there are a handful of secondary characters, with everyone else left as rather undeveloped tertiary characters. Aunt Ayano and Akitsuki’s cousin Miho show up from time to time, more or less to show how Akitsuki and Suzuka’s relationship confuses other characters over the course of the series, and once to reprimand Akitsuki for an act he makes late in the series. Yukka is another girl living in the apartment complex, attending college and often seen drunk. She attempts to provide Akitsuki with advice but usually ends up leaving his apartment a mess. Viewers will likely find Yukka’s inclusion either a good source of comic relief or just plain annoying.

The soundtrack is quite impressive for a relatively low-key anime project. Many pieces put emphasis on piano and string parts to create a smoothly flowing and genuinely moving soundtrack. There are pieces that create a tense atmosphere, particularly during the track competitions, that change the mood up but fit in perfectly with the rest of the soundtrack. Many pieces are reprises of the series’ main theme, but still diverse and separate enough that they don’t become overly redundant. All in all the soundtrack isn’t particularly complex but it is very fitting to the series’ events. The art style uses the current standard digital coloring techniques and overall looks quite good – that’s not to say that the series is going to win any awards in the animation department, but everything is very clean looking and consistent. The English voice actors portray their characters with overall solid performances. There are a few voice actors who sound out of place from time to time, but none of this jolts the story off focus at all.

The story is neither overly complex nor strikingly original. There are some interesting techniques used to keep the plot entertaining and the characters are very well developed. Whether viewers are familiar with the manga or not, the ending comes across as incredibly sudden and is one of the show’s prominent weak points. Overall, however, the story is solid and gives some different twists on an age-old formula.

My rating: 7.75 (out of 10)

Anime review: Spice and Wolf (season one)

“No one knows when the people of this village began to say ‘the wolf is running’ to describe the ripe wheat swaying in the wind. Where e’re the wind lays flat the ears of wheat, they become trampled by the wolf. And should a poor harvest befall, the crops are eaten by the wolf. In the beginning, there was nothing - there was only warmth. And then, a promise was made. The cycle of encounters and farewells continued with favor, until one day humans came to achieve abundance on their own, and there was no need to be faithful to their promise anymore…”

Spice and Wolf takes place during the late middle ages, a time when feudal lords and regional governors control towns and the lands that surround them. The world is becoming more globalized and the nations of Europe have decided to focus more on building up their economies by trade routes than staking claim to resources through means of military prowess. Kraft Lawrence, a travelling merchant, is making a sale in one of his usual towns and visits his friend and fellow merchant Chloe while there. The town is in the midst of an age-old ceremony celebrating another bountiful wheat harvest for the year. The ceremony is based around the folklore of Holo the wolf god, who supposedly once made a deal with the townspeople to give them a plentiful harvest every few years in exchange for years of poor harvest that would follow, in so allowing the land to recover.


Following the ceremony, Lawrence is approached by the real Holo, who has taken on the form of a young woman, though she bears the ears, tail, and fangs of a wolf. Holo explains that the people of the town have become self-sufficient in their farming techniques and no longer require her helping hand. She asks if he would allow her to travel with him so that she might return to her homeland, far to the north. After some convincing that these events are actually occurring, Lawrence agrees to Holo’s wishes, though he makes it clear that his business with other merchants is still priority.

Holo and Lawrence play off each other as a curious dynamic. Holo claims to be very wise in the study of mankind’s nature, though it becomes obvious as the show progresses that she can still further her knowledge of humans. She promises to Lawrence that she will pay him back for any expenses along their journey, and though her words seem empty at first, she proves a useful partner in earning Lawrence large returns on his inventory. Her obsession over apples and occasional over-analyzing of people may be quirky, but Holo keeps her wits about her and is quick to react to when in a dangerous situation.


Lawrence, on the other hand, is an honest merchant who hopes to make a fair share of profits off his items, though he knows this will not be an easy task to accomplish. His years of experience put him a bit ahead of the competition but he is wary of shady traders. He constantly teases Holo, and although he finds her a bit eccentric and perhaps annoying at the start of their journey, he finds her to be an invaluable partner in trading his merchandise and getting out of trouble with thugs.

As for the other characters, the only two of real notable mention are Chloe and Nora, a shepherd who is employed by the church. Chloe’s involvement with Holo and Lawrence is key in getting the first major events of the story off the ground, as it is revealed that she is under the employment of Medio Trading Company, and wishes to turn Holo over to the church after discovering that Holo is a deity. Nora becomes a prominent character late in the first season, as Lawrence pays her to provide them safe passage to Rubenhaigen, where he wishes to sell suits of armor. Nora ultimately becomes involved in a plan to free Lawrence and Holo from a debt they become trapped in, and thus learns how to define herself instead of having others tell her what to do with her life. The rest of the characters in Spice and Wolf don’t play particularly large roles, usually appearing in two or three episodes at most and providing obstacles for Lawrence and Holo to overcome. This allows more development on the major characters, but it would have been nice to see a few more characters of relative importance.


The art style of Spice and Wolf is superb, with bright colors exemplifying the vast open country fields and darker shades setting an uneasy atmosphere for tunnels in the under-cities. Shadows dance off candlelight and the moon blankets the countryside in a cool blue glow. The animators obviously put a lot of time and effort into every scene, as no detail is left bland. The soundtrack is most fitting, with instruments largely comprised of woodwinds and classical strings. The opening vocal theme fits the fairly serious mood of the show much better than the peppy ending theme, the latter of which I found to be rather annoying. While the Japanese voice actors are well-suited to their respective characters, the English voice actors do an impressive job as well. The work done on the English release of Spice and Wolf really shows how much Kadokawa and Funimation have improved their standards in recent years.

There is no filler content in Spice and Wolf, and while it might take viewers a while to catch on to the major story arc, the end result is truly satisfying. It isn’t often that a series can feel action-packed without involving fight sequences or high-speed chases. But that’s exactly what Spice and Wolf does. The series maintains its tense air and espionage style by showing how Lawrence and Holo are able to outwit their foes. The inclusion of an economic learning experience as the series plays out forces viewers to do a little thinking as they watch. Some of the characters could have used a little bit more fleshing out and some episodes are more entertaining than others, but all in all this is an enjoyable series that fans of fantasy, drama, and action series alike can enjoy.

My rating: 8 (out of 10)