UlasanAnime.com – This article provides a series of brief reviews and thoughts on various anime series from the Autumn 2016 season, interspersed with links to related discussions and musings.
Usagi Drop is presented as a solid anime, with the author urging readers not to be swayed by manga spoilers or moral panic. The piece emphasizes that the anime’s value lies not in its morality but in its mode of consumption, and how external influences can dictate one’s perception. The author notes the distinct experience anime adaptations can offer compared to their manga counterparts, acknowledging a personal bias towards such controversial topics.
Regarding Shirobako‘s commercial success, the author mentions the quick sell-out of its first Blu-ray run, attributing it possibly to low initial expectations. The announcement of a Blu-ray box set on the horizon suggests a potential for PA Works to revisit this successful formula in the future, a move the author finds more delightful than a recent announcement concerning Uchoten Kazoku.
The author expresses mixed and reserved feelings about Girlish Number, humorously noting that it seems tailor-made for a specific audience. The show is described as a satire on the otaku fandom and the anime industry, with the author finding it to be a valuable, albeit somewhat unsettling, experience. For viewers in America and Canada, the show is available on Hulu with a one-week delay.
The concept of Adults are different is discussed and deemed overrated. The author observes that many people enjoy adults who exhibit such traits, questioning the purpose of being an adult if that’s the case. This observation is linked to the anime Yuri On Ice, where the age range in professional figure skating is quite broad. The author finds that the “why” behind certain character traits can make shows more interesting, unlike in shows like 3gatsu, which is described as trying too hard, especially with Shaft’s involvement. The directing of Yamamoto Sayo on a “girl-pandering anime” in the same season is also noted as a point of comparison.
Matoi and Mahoiku are recommended for viewing together, particularly for comparative analysis of their approaches to similar themes. While acknowledging an outsider’s perspective on magical girl anime, the author points out the predictable plot points, such as Matoi’s mother’s role and Mahoiku’s dying game. The idea of an anime adaptation of an “idol killing game” is humorously entertained, with “Idol Death Game TV TV” being suggested as a potential title.
The presence of Chinese animation in the season’s lineup is noted, with the author unsure of how to feel about it, though acknowledging that toilet humor gags still work. The success of such productions is attributed to the core staff and material. The author suggests that ambitious projects like Bloodivores might be hindered by underdeveloped skills and processes, possibly relating to a shortage of animators.
Izetta is described as captivating in its first episode but losing its appeal with the opening theme. The concept of a gun-riding witch is found hilarious, but the author is less enthusiastic when it becomes the main visual gimmick. This reminds the author of a D&D character and creates a dissonance between expectations of something akin to Indiana Jones and the reality of a Guilty Crown-like experience, though not as bad.
Euphon S2 is deemed great, but its short, two-episode pilot length is a point of contention. The show’s ability to hold attention is limited unless it can be marathoned. The author also notes that the voice acting seemed to shift closer to live-action, which took some getting used to.
Briefly, Nanbaka is called dumb, Natsume is described as chill, and FliFla is considered weird. The author suggests that a good story would be necessary to push through FliFla, likening it to reading well-written news blogs about ultimately empty topics. Quality art and passion projects are sometimes seen as more of an exercise than a self-sustaining entity.
Other anime mentioned include Drifters (OK), Udon no Kuni (not bad, preferred over Sweetness & Lightning), and Trickster (featuring Gackt, with the “1hope Sniper” element bringing a smile at the end of episodes). Brave Witches is seen as a brave sequel, re-engineered with lessons learned from other franchises, and holds some promise.
Ping Pong Girls is given its own paragraph, noted for being less dissimilar to Ping Pong than expected, especially for what is often considered “throwaway Chinese anime.” Idol Memories is also mentioned, alongside the humorous observation about Chinese lessons providing “luls” and the question of what to call anime clearly made with the Tencent market in mind.
WWW.Working, in contrast, is perceived as being made for a “dumb audience.” It lacks the craft and charm of the original series, though enough carry-over charm remains to keep viewers engaged. The author humorously speculates that perhaps the original series wasn’t that good, making the drop in quality less noticeable, or that they are “too stupid to tell.”
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Finally, the author mentions the upcoming CG4th event and its potential impact on their viewing schedule. When asked about top shows of the season, the initial picks were Yuri On Ice, Girlish Number, and possibly Occult 9 or Keijo!!!!!!!!. The author acknowledges uncertainty about a definitive third choice but sees potential for Takkyuu Musume, Matoi, and Izetta to rise in the rankings.
