UlasanAnime.com – The anime series Ping Pong is described as having a distinctly “Yuasa” style, characterized by its emotive and gripping animation. This style is evident even in seemingly mundane scenes, such as characters walking along the shores of Kamakura or Enoshima.
The reviewer humorously mentions trying an octopus cracker, suggesting it’s a delicacy worth experiencing when visiting the area.
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The article draws a parallel between Ping Pong and another work, Flower of Evil, in their depiction of characters wandering through decaying suburban landscapes. However, it notes that in the tourist-centric Kamakura, this decay feels more like a staged backdrop than genuine urban blight. The area is characterized by an older, sparser population and a quaint landscape, with the seaside view often framed by local scenery or signs of human activity and traffic, contributing to a sense of quiet, everyday existence.
Fundamentally, Ping Pong is presented as an anime that excels in its depiction of motion and animation, in the sense that it truly “moves.” A standout example of this is the third episode, which features dynamic sliding panels that break up the screen. When contrasted with the often static “slideshow” nature of late-night TV anime, Ping Pong‘s approach can be seen as almost satirical. This emphasis on motion significantly heightens the story’s tension, differentiating it from many of director Masaaki Yuasa’s other works. The pacing is described as tight yet constantly shifting focus, making the wide-angle shots particularly effective. Examples cited include Wenge on the roof at the end of the first episode and a conversation between Dragon and Smile in the third episode.
The viewing experience is described as exhilarating, leaving the audience with a sense of awe and a smile. However, the reviewer notes that the impact is somewhat fleeting, with the immediate impression fading after about half an hour. This lack of lasting depth, at least up to the point of the review, is what the reviewer attributes to the anime’s “hipster” quality. While acknowledging the clever writing, the reviewer expresses a desire for the narrative to move beyond its specific “then and there” focus towards something more universally relatable. This sentiment echoes a comment made by Wenge about Smile’s ego.
