Rainy Cocoa Review

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Rainy Cocoa is based on the digital manga of the same name. Its setting is a cafe called Rainy Color. There, at least in Season 1, we follow Aoi Tokura, a waiter. We also have the energetic Ryota, and the rather standoffish Keiichi Iwase, who doesn’t seem to like Aoi There’s also Shion, who runs the cafe. Finally, there’s the mysterious owner of the cafe, Koji Amami, who pops in every now and then from his many travels across the world. Season 2 switches things up by focusing on a new set characters.

I’ll do my best in keeping this review from being too short, but there isn’t too much to say about this anime. Rainy Cocoa’s episodes are a little over two minutes each, so it can be hard (but not impossible) to create a compelling storyline. Still, even with that limitation, Season 1 was mostly pretty fun. The interactions with the characters were good. However, the ongoing thing of Aoi apparently looking like a girl didn’t make sense. Aoi doesn’t look like a girl, so the jokes on that didn’t land. Besides that, Season 1 was mostly decent. Shion was a very good character with his calm personality, and subtle advice. Keiichi came off as annoying though, and the scene where Aoi pretends to be a dog was just silly.

While Season 1 was fun enough, Season 2 lacked. This was because the two new characters, Noel and Nicola, just weren’t that interesting. They were also used for comic relief, something more prevalent in Season 2. There’s also Jun Arisawa the cameraman, and Haruka, someone who admires Jun’s work. This subplot was more interesting thanks to the characterization of Jun.

The saving grace of Season 2 wasn’t the actual episodes. Rather, it’s the bonus materiel after each installment. After an episode, the voice cast of the show will get together and talk. Not only would they talk about the show, but other media and life in general. For example, Ryō Horikawa voices Vegeta in the Japanese version of Dragon Ball Z, so that got brought up. Shouma Yamamoto played Kamen Rider, so he did a little on-stage demonstration of that. These cast segments alone make the show worth watching.

Overall, Rainy Cocoa isn’t bad, but never rises to greatness. The short runtime is a limiting factor, but more could have been done with it. Kaiju Girls is another anime with short episodes, but is a lot more interesting and fun. Rainy Cocoa had a promising first season, but the second lost its focus because some of the new characters just weren’t as good. Still, the segments after each of the Season 2 episodes with the voice cast were excellent. The theme song is also insanely catchy. The concept of a show focusing on the relaxed atmosphere of a coffee shop/cafe could be engaging, so maybe future seasons make better use of it.

6/10

 

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MADE IN ABYSS: Journey’s Dawn Review

 

Made in abyss

Credit: Sentai Filmworks

MADE IN ABYSS began as a manga written by Akihito Tsukushi. It’s probably more well known for its 13-episode anime adaption, licensed by Sentai Filmworks in North America. This year sees the release of two compilation films of the anime for limited theatrical release outside Japan. Compilation films are nothing new for anime – we’ve seen that with Attack on Titan and Puella Magi Madoka Magica. Making a compilation film can be tricky, as it’s more than just merging episodes together. For a 13-episode series, ideally you want to have at least two compilation films, as attempting to squeeze everything in one runs the risk of key scenes being cut. MADE IN ABYSS follows the two film format, with the first installment, Journey’s Dawn, releasing in select theaters next month. Part 2, Wandering Twilight, releases later in the year.

Now, moving on to the actual film, Journey’s Dawn compiles the events of the first eight episodes of the show. That’s a hefty amount of content, but the film gets the story going at a reasonable pace without feeling overloaded. Journey’s Dawn follows a young girl named Riko. She and many residents live near a hole in the earth called “the Abyss.” Here, many adventurers have gone in, but those who have traveled too deep never returned. Each layer of the Abyss gets worst and worst, to the point where people can lose their humanity.

While Riko is scavenging for relics in the upper layers of the Abyss, she is attacked by a monster. While she manages to briefly get away, the monster eventually comes upon her. Before being eaten alive, a mysterious blast repels the creature. Riko notices a boy, but learns that he is a robot seemingly connected to the Abyss. A bit later in the film, Riko receives a note seemingly from her mother, who went into the Abyss 10 years ago. It appears her mother is asking Riko to come find her. So, Riko and the robot boy, named Reg, journey into the dangerous hole in the earth…

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Credit: Sentai Filmworks

Journey’s Dawn begins brilliantly by establishing the setting and Riko’s mom. The Abyss itself is almost portrayed as a character, an otherworldly area of beauty, but also danger. Later in the film, we see an area called the “Inverted Forest.” As the name implies, the trees are upside down, giving a rather unique, unsettling look. We see creatures with unique features, things that appear almost alien to the world on top. The Abyss and the monsters that reside in it evoke a similar feel to the The Shimmer in the acclaimed film, Annihilation. The Abyss is a fantastic setting, making the viewer want to see more by the time the credits roll.

Of course, before Riko and Reg enter the Abyss, we get to see the world on top. This serves to introduce Riko and Reg. Riko is established as a kindhearted girl, as seen when she attempts to help the boy who saved her. She’s also a bit of a trouble maker, as we learn from the head of the orphanage. Riko’s unyielding cheerfulness is fun to watch, but she’s also capable of emitting genuine emotion. The scene where she learns about her mom’s whistle was effective. Reg is arguably the more interesting of the protagonists, a robot that doesn’t know who built him, and why. He’s capable of emitting emotion, but there’s also something distinctly mechanical about him. The entire sequence of him utilizing his “incinerator” as Riko calls it was effective. Reg’s more subdued nature makes for a great contrast to the bubbly Riko.

The first quarter of the movie does a solid job introducing the characters, and the motivation for entering the Abyss. The only negative thing was that Riko became attached to Reg rather quickly. That’s one possible danger of compilation movies: character development can feel rushed in comparison to taking it episode by episode. Thankfully, aside from the quick friendship between Riko and Reg, the film never feels rushed. The first quarter does a great job of establishing Riko’s friends in the orphanage. The emotional goodbye between Riko and Nat was well done.

Once the protagonists enter the Abyss, the story really gets going. It becomes something of a darker Journey to the Center of the Earth. The scenes with the creatures are tension-filled, and well animated. The character designs may give off a younger vibe, but there is some dark imagery in the film. The scene with a bird-like monster called “Corpse Weeper” chewing on human remains comes to mind.

The final act of the movie has Riko and Reg meet Ozen the Immovable. This was not only the greatest aspect of the movie, but one of the most well done things I’ve seen in any media recently. Ozen is a fascinating character and big highlight. I won’t get into the specifics, as spoiling these scenes would be a disservice to the film. What I can say, is that Ozen leaves her mark as one of the most notable characters in recent animation history. Every scene with her and the protagonists is a treat. Christine Auten did a fantastic job at providing the dubbed voice for Ozen.

Ozen Made in Abyss Journey's Dawn

Credit: Sentai Filmworks

The flashbacks with Rika’s mother, Lyza, are effective. Lyza is an interesting character, someone the viewer wants to see more scenes with. Meanwhile, the soundtrack does a good job enhancing the film. One particular piece of notable music is the theme that plays when Riko shows Reg the sunset behind the village. The music also works to give dangerous sequences, such as the early monster chase, and the Corpse Weepers, even more tension. It will be a treat to see the music in Part 2.

Journey’s Dawn is a strong opening to the MADE IN ABYSS saga. At its core, it’s about a daughter looking for her mother in a dangerous, unfamiliar land. Family is a strong bond, especially between mother and child. Despite not really remembering her mother, Riko is compelled to go into the Abyss. Meanwhile, Reg is an interesting character. Who built him? What’s his purpose? How does he connect to the Abyss? These questions make the viewer greatly anticipate Part 2. The Abyss itself is a fascinating setting, full of terrible creatures, and unique imagery. There are not many negatives. The development between Riko and Reg could have been better in the beginning. But, it’s not a deal-breaker. Journey’s Dawn is definitely worth checking out. I for one am excitedly anticipating Part 2: Wandering Twilight.

4/5

A big thanks to Sentai Filmworks for providing an advance screener for review. MADE IN ABYSS: Journey’s Dawn will premiere in Los Angeles at Regal Cinema on March 15th. A wide release will then commence on March 20th (subtitled) and March 25th (dubbed), courtesy of Fathom Events. You can purchase tickets here

The Disappearance of Nagato Yuki-chan Review

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The Disappearance of Nagato Yuki-Chan is a spin-off of The Melancholy of Haruhi Suzumiya. More specifically, it is a spin-off of the film, The Disappearance of Haruhi Suzumiya. In that movie, Nagato creates an alternate reality where she is a normal girl, and strange things like aliens and time travelers don’t exist. The Disappearance of Nagato takes place in this alternate world. It’s an interesting idea, but the anime does little to justify its existence. While watching, it’s easy to think, “Why aren’t we just watching more of the real-version characters?” Despite an overall feeling of the show being filler, it’s still enjoyable. There are plenty of great character interactions, and it’s never boring.

Disappearance grabs the main cast of Melancholy, with some changes. Of course, the biggest difference is that the characters are normal humans. This hurts Koizumi the most. He was one of the most interesting characters in Melancholy, being an esper and having connections to what’s going on supernaturally in the world. In Disappearance, he retains his elegant personality, but is given little to do other than act like a servant for Haruhi. It is interesting that he has feelings for Haruhi here, but since it never really goes anywhere, it leaves Koizumi a shell of his real-version self.

In  Melancholy, Mikuru is the time traveler. Besides that fact, she was given little to do than be put in fan service situations set up by Haruhi. One would imagine with her time traveler persona being eliminated, she would be even worst off in Disappearance. Actually, she’s given a bit more character here. Yes, she is unfortunately the victim of fan service once again, but there are two key scenes where she encourages Nagato. These were really good in showing Mikuru’s down to earth character. Meanwhile, Mikuru’s friend, Tsuruya, is given a much larger role than in Melancholy. It was definitely fun having her around to match dialogue with Ryoko and Haruhi.

As for Haruhi, she is pretty much the same character as in her show. What I personally liked is that she was given a bit more emotion than what was seen in Melancholy. In one scene, she consoles Ryoko, and in another, has some monologue near the end of the show. Speaking of Ryoko, one of the biggest changes from the original show is her. In Melancholy, we found out that she was a psychopath. Here, she is simply a person with a good heart who takes cares of her best friend. It takes true talent to make a character likable both as a crazed villain, and as a kindhearted person. Her relationship with Nagato is sweet, and makes us appreciate the Ryokos (the one in Disappearance anyway) in our lives.

One engaging scene was Ryoko sternly telling Nagato that she isn’t her mother or older sister, so she can’t solve Nagato’s problems, but she could help. At this point, Nagato was ready to give up on the Literature Club, so Ryoko had to say that because Nagato can’t rely on her to fix her own problems. It’s a great dialogue. The ongoing plot point is that Nagato has feelings for Kyon. Thus, this show is much more of a romance than Melancholy. This could have some good aspects, and in some ways, it has. We really do root for Nagato. But the trope of attempting to convey feelings to someone, only to be interrupted, is dated and annoying. The show could have shaved off some episodes in getting to the point.

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There is some great drama to be found here, making The Disappearance of Nagato Yuki-Chan a good watch. The mini “amnesia” saga near the end was very compelling, as was Ryoko’s outburst at Haruhi during the Valentine’s Day episodes. The anime can also be genuinely humorous, like Melancholy. Disappearance lacks the overall quality writing of Melancholy however, and doesn’t really have a satisfying ending. So, it’s not essential viewing, but if you’ve seen Melancholy and the movie, it’s a pretty good watch.

7.5/10

GODZILLA: THE PLANET EATER Review – Where did it all go so wrong?

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It should have been epic. The Godzilla anime trilogy should have been a lot of things. The potential was there. In the first film, Planet of the Monsters, Godzilla was established as an unstoppable threat. I remember feeling in awe when he unleashed his iconic roar in the climax of the film. The actual movie wasn’t anything great, but it was decent setup. The potential was there. The sequel’s marketing hinted at a battle between Godzilla and a new Mechagodzilla. City on the Edge of Battle did not feature a Mechagodzilla throwdown, instead rehashing the battle against small machines from the first film.

City on the Edge of Battle had some neat ideas. Mechagodzilla taking over an entire city, and the Bilusaludo willing to become one with it in order to face Godzilla were interesting concepts. The problem is that these things completely took the place of why we watch Godzilla movies. In City on the Edge of Battle, Godzilla doesn’t do anything until after the first hour. That’s a bold move with a movie titled Godzilla, but maybe it could work if the climax was amazing. It wasn’t. At the very least, the poster for The Planet Eater showed Godzilla battling an intriguing new version of King Ghidorah. There is definitely a confrontation, but fans will likely be disappointed. The film itself is kind of bizarre in that it barely even feels about Godzilla at times.

Look, deep themes and meta storylines can be fascinating. Anime is home to many fantastic concepts and themes that Western animation barely touches. So, it’s certainly welcome that a Godzilla film in anime format could touch upon themes, such as what it means to be human, and the will to keep fighting. That sounds interesting, but it only works if the themes don’t overpower the kaiju element. The Planet Eater goes full on in attempting to convey something profound with its protagonist. The film is certainly thought provoking to some extent, but in the end, it got lost in its themes and forgot to be a quality movie. The ending is downbeat and out of left field, reminding everyone that this is the Haruo Sakaki saga with Godzilla just as a guest star. The after credits scene is strange in that it literally has nothing to do with Godzilla.

Now, that’s not to say everything about The Planet Eater is awful. The story, summed up, is about Metphies revealing his plan to Haruo. The Exif plans to bring King Ghidorah, a powerful space monster who the Exif worship as a god, to deliver Earth’s destruction. Haruo is of course against this, but is manipulated by Metphies in mind games. Ghidorah arrives on Earth, and Godzilla is powerless to stop him. With Haruo edging closer and closer to the end, Maina goes to the large egg and summons a familiar moth to go inside Haruo’s mind. With Haruo later back to his senses, it’s time to stop Metphies and Ghidorah’s menace…

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So, one thing that was well done was the build-up to Ghidorah. I got goosebumps when hearing the classic Ghidorah cackle. Ghidorah is treated as a god-like being, and the scene where he arrives and destroys the Aratrum was awe-inspiring. His arrival on Earth was also well done, with the animation being quite good. The encounter between him and Godzilla was, at first, interesting. Godzilla was clearly on the verge of losing, and the overall feel was that of a big climax. The problem is that the way Ghidorah was designed did not allow for a very engaging battle. It was barely even a fight as Godzilla couldn’t even touch Ghidorah until later.

The strange thing is that the film teases viewers with the classic winged Ghidorah look, but we never actually see that in the flesh. An even bigger tease was Mothra. Yes, Mothra does sort of show up – but only as a silhouette who goes inside Haruos mind. That’s her only appearance. Mothra appearing in person to help take out Ghidorah? A team-up with Godzilla, as a reference to their partnership in Ghidorah, the Three-Headed Monster and Godzilla: Final Wars? Nah, none of that stuff. Instead, the film thinks we’re satisfied by Mothra being a flying shadow.

Some of the dialogue was good. The mind sequences with Haruo and Metphies were interesting, as Haruo was brought lower and lower by Metphies’ elegant vocabulary. Methphies was definitely a highlight of the trilogy, and it was great seeing him go full on calm fanatic in this movie. Haruo isn’t a terrible focus, but at this point we’ve so much of him and so little of Godzilla, that it’s hard to be engaged. It also doesn’t help that the ending was a terrible conclusion to his story.

The Houtua were interesting characters in City on the Edge of Battle, and the twins return here. One of the best sequences was Miana discovering Metphies’ alter to Ghidorah. Meanwhile, her sister, Maina has one notable scene where she goes to the Mothra egg. However, Maina is also given a rather…odd role. Haruo seems to have gotten over Yuko quickly, huh?

At this point, there isn’t too much else to be said about The Planet Eater, and the anime trilogy as a whole. Perhaps people who have never seen a Godzilla film will enjoy these more. The themes can be interesting, but they are sandwiched with dull pacing and little kaiju action. The Planet Eater teases with winged Ghidorah and Mothra, but not much happens there. Ghidorah’s “battle” with Godzilla did have some great moments, like Godzilla snapping one of the head’s jaws. But, it did leave a lot to be desired. The soundtrack was strong overall at the very least, especially when Ghidorah arrived. The Planet Eater attempts to be a deep movie, which is admirable, but in the process loses key things associated with the Godzilla saga.

ghidorah

All in all, The Planet Eater is a mediocre conclusion to a mediocre trilogy. Throughout the films, there have been great moments and intriguing concepts. But, there is no satisfying endgame. Planet of the Monsters was decent setup, and City on the Edge of Battle was one overly long middle act for The Planet Eater, none of which delivered. Hopefully Godzilla’s journey into anime doesn’t end here.

In Search of the Lost Future Review

In Search of the lost Future poster

In Search of the Lost Future incorporates quite a few genres. It is part slice of life; the episodes can have an episodic feel at times. But, it also has an ongoing storyline that runs seamlessly for most of the 12 episodes. It is part romance, and even science fiction. It combines these genres exceptionally well to tell a story that is engaging, emotional, and humorous.

It’s not perfect though. The ending is unfortunately disappointing, forcing the review to shave off a star. Some shows and movies are consistently mediocre, guaranteeing a mediocre score. Meanwhile, some things are perfect, but the ending wrecks the experience. (An example of that is the film, Puella Magi Madoka Magica the Movie: Rebellion.) In Search of the Lost Future is fantastic, but the ending does not feel like a satisfying culmination of all that has come before. It is not drastically bad as in the Rebellion example, however. Lost Future is nonetheless a very solid anime. Its primary positive is the factor that helps secure a very good rating. What is that factor? It features an incredibly likable core group of characters.

To briefly summarize the story: Sou lives with his childhood friend, Kaori. They are part of a school club called the Astronomy Club. The group is a close-knit friendship between five members. We have Airi, Nagisa, and Kenny. Things take a turn for the interesting when Sou finds an unconscious girl at the school. This girl, named Yui, does not remember her past. It later turns out that she is an artificial intelligence sent from the future by an older Sou to change the fate of Kaori, whom is in a coma due to getting hit in a bus crash. Kaori is in love with Sou, who is oblivious for most of the story. If Kaori tells Sou her feelings, what will his answer be? And can Yui save Kaori from an eternal coma?

The Good

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You’ve probably seen some shows where characters have a certain trait, and that’s it. They don’t have much actual personality aside from one core trait. (This is seen in Dragon Ball Super with Vegeta.) Not too long ago, I wrote a review for the anime, Karneval. It was decent. but nothing spectacular. The characters were more on the mediocre side. The protagonist of that show had attitude, but not much actual character apart from it. This is not the case with In Search of the Lost Future.

Take Airi for example. She is the tough one of the group, whom makes sarcastic comments to Sou quite often. But, she has a lot more character than just being the tough girl. She’s incredibly down to earth, such as when she consoles Kaori late in the story. It’s obvious that she cares about her friends, and is passionate. When another member pushes Kaori, Airi goes on the offensive and attacks the person. Airi also likes Sou, but keeps it to herself because she knows that Kaori is in love with him. The viewer does feel sad for Airi, but at the same time admires her for her ability to put that to the side for Kaori’s sake. Next we have Nagisa. She was fantastic, and gets some intriguing backstory later in the story. One of the best scenes of the show was when she barges into the computer group’s room, and beats a program they were working on.

Sou and Kaori are likable focuses. In Kaori’s case, the writing is once again down to Earth. The bus accident early on was felt. Yui is interesting, and she takes an even more central role later in the story. Of course, her goal is to save Kaori. But, as Yui later learns, doing that will erase herself from existence. This is an intriguing plot point that engages the viewer.

The dialogue in this anime is really good. The character interactions are almost always fun and engaging. There’s plenty of humor, but also heart-to-heart. These are true friends, and it shows in the words and actions. Simply watching them interact at the mall made for a fun episode.

The Bad

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The core characters are good, but Kenny had the least development. His running gag can be funny, but outside of that and his love of food, he didn’t have development. Still, he’s not terrible. It’s just that every other core character got personal scenes – Kenny got none. That’s not a big negative. The big negative, as stated earlier, is the overall ending.

Sou ends up rejecting Kaori in favor of Yui. (Sou has no idea that his future self created Yui for the purpose of saving Kaori.) But Yui ends up vanishing, thus erasing herself from the past timeline. So, Sou’s reason then for rejecting Kaori is that he can only see her as a childhood friend. It’s disappointing, especially during the original rejection. Sou liking Yui over Kaori was unneeded. Kaori does end up waking up in the future, so you could say it’s a happy ending. But, the conclusion just isn’t satisfying because Sou doesn’t reciprocate Kaori’s feelings, and he seemed to prefer Yui, an artificial creation.

You may argue that if Kaori and Sou did showcase romantic feelings for one another in the end, it would have been a generic ending. But generic is not bad in this case. The show builds up to that particular ending, and the way it does so makes that conclusion the only satisfying one. What we got does not do the story justice.

The Verdict

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In Search of the Lost Future is a near perfect anime affected by a mediocre ending. It’s still very good, earning itself a positive score. The core characters are excellent, I would even say some of the best. The story moves at a good pace, blending slice-of-life with ongoing plot. The ending does ruin the enjoyment a bit, but it isn’t terrible to the point that the viewer forgets how great everything else is. As such, Lost Future is not one of the all time greats, but still a very good watch.

8/10

 

The Rolling Girls Review

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There are great anime, there are bad anime, and then there are okay anime. A show like Guilty Crown edges more toward the negative side, while a show like Karneval edges more toward the okay side. One great – no, fantastic anime, is Attack on Titan. The studio behind that show is Wit Studio. In fact, it was because of the Attack on Titan anime adaption that made the Attack on Titan name one of the biggest of the modern era. Wit Studio should be commended for such incredible work. Today’s anime review is on The Rolling Girls. As you can probably guess, Wit Studio is the producer behind the show. Unlike Attack on Titan, The Rolling Girls is an original piece. (In fact, it was the studio’s first anime not based on a manga.) The plot is certainly interesting. A “Great Tokyo War” has divided the country of Japan, with different groups throughout the region. Each of the main groups are led by a “Best,” a being with special power seemingly thanks to a heart-shaped object called a Moonlight Stone.

The main, heroic Best we’re introduced to is Maccha Green. The more villainous Kuniko Shigyou is her rival. As the two duke it out over the course of two episodes, the battle eventually culminates in the two being seriously injured and sent to the hospital. Maccha Green’s apprentice, Nozomi, decides to travel around Japan with her friends on motorcycles in Maccha’s Green’s place. Hence the title, “The Rolling Girls.”

There are elements of greatness in The Rolling Girls. Indeed, there are often times of genuine emotion where we want to see the girls succeed in their endeavor. But, the show doesn’t rise to true greatness, settling at being more of an okay anime missing the title of great.

The Good

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The first two episodes are the best of the show. The story backdrop is interesting, as we’re introduced to two factions, the one led by Maccha Green (real name Masami Utoku) and the other group led by Kuniko. In such a short amount of time, these two characters are established as very likable and engaging. Kuniko comes off as charming – and unhinged, such as when she’s threatening to drop all of Masami’s friends from a roller coaster. Meanwhile, Masami is heroic, whose Maccha Green suit appears to homage tokusatsu characters like Kamen Rider. However, Masami is portrayed not as perfect like the original Ultraman. Rather, she deals with internal human conflict. This is evidenced when she monologues about the difficulty of being put in a position to reveal her secret identity, in order to save her friends from the roller coaster.

By the end of the second episode, both Masami and Kuniko are hospitalized. Nozomi becomes the main character, alongside Yukina, Ai, and Chiaya. Nozomi is a likable focus, because the writing shows her genuine wanting to be like her mentor and help people. Ai is probably the most interesting of the Rolling Girls, having a spunky personality. Although the running gag of her running into conflict only to be blasted away was annoying, one has to like her determined persona. She and Nozomi get into an argument late in the story, which leads to Ai breaking from the group. This was handled well and hit the viewer emotionally because of how close the group had become by that point.

Chiaya takes more of a center focus toward the climax of the show. Her character is very similar to Nai from Karneval. Unlike Nai, who came off at times as annoyingly naive, Chiaya comes off as sweet, having a genuine longing for friends. Her relationship dynamic with her mother was interesting. Perhaps the most emotionally well done part of the show was when Chiaya tells Nozomi in the final episode, “You were my Maccha Green.” Some of the visuals in this show are unique. I was taken aback by how beautiful and surreal the backgrounds of Always Comima were. The soundtrack is solid. I particularly liked the song that played during Maccha Green’s fight with Kuniko in episode two; it gave the battle an even more stylistic flare. Speaking of the action, when fight scenes do occur, they are a lot of fun. Besides Maccha’s encounters with Kuniko, one of the biggest highlights in the action department was the battle between Haru Fujiwara and Ura Kukino later in the story.

The Bad

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Nozomi’s group is a likable focus. Nozomi is engaging, Ai is fun, and Chiaya is sweet. Notice how I left Yukina out of that sentence? She wasn’t bad, but lacked personality. She came off as shy, and that’s it. Unlike the other characters, it was hard to gauge the type of person she is, aside from being more on the shy side. She isn’t the major problem here, however.

The problem is that Maccha Green and Kuniko are too great to sit on the sidelines.

Nozomi is fine, but there’s a reason why the show never got as good as its first two episodes. The relationship between Maccha Green and Kuniko is fascinating. Near the end of episode two, there is rushed exposition that the two actually knew each other. This didn’t have to be rushed if the show had chosen to focus on these two. Instead, the writing benches the two most interesting characters until near the end of the show. When they do come back, they’re teaming up and it’s good stuff. Nozomi’s group just weren’t capable of being as engaging in comparison.

Another big problem is the under-utilization of quality antagonists. There is no real main antagonist until near the end. She, Shima Ishizukuri, was great, but terribly under-utilized. Why did she give up in the end? The whole resolution came off as rushed. Another great character was Shutendōji, whose “Life is about killing time” shtick was interesting. But, in the end, it appeared as if he was helping the characters, thus making his character supremely confusing.

There is often too much of a comedic tone coming from the episodes. The writing could have used the fascinating background of the Great Tokyo War to deliver an engaging story in the modern day. What we do get is still okay, but it rarely rises to excellence past its first two episodes.

The Verdict

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If the show had opted to keep Maccha Green and Kuniko as the primary focus, we could have had something truly great. If the writing really wanted Nozomi’s group to be a center focus, all it had to do was have Maccha and Kuniko fail a mission late in the show, and have Nozomi’s group continue where the two characters left off. It would be serious, but could still offer comedy in the form of the character interactions. Make no mistake though: The Rolling Girls isn’t bad. There are some notable characters that appear, like Ura. But, The Rolling Girls is also a missed opportunity for something special.

7/10

Karneval Review

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Released in 2013, the Karneval anime is an adaption of the manga by the same name. The story follows a creature named Nai. Nai is apparently half “niji” and half human. Nai is looking for his caretaker, a man named Karoku. A crook named Gareki runs into Nai, and the two of them end up meeting up with a government organization named Circus. Circus’ goal is to protect citizens from monsters called Varuga and a sinister organization called Kafka. Based on the summary, Karenval sounds like a fun story. It is a fun 13 episodes, but lacks in key areas.

The Good

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The action in this anime is slick. From the opening fight with Gareki against a Varuga, viewers know they’re in for a treat. A few of the characters are notable. Though Gareki was annoying sometimes, he did have a good character arc. By the end of the show he emerged with a more heroic mindset, and a willingness to open himself up to the idea of belonging to a group. One of the stronger aspects of the show was the parts that focused on Gareki’s past, and how it relates to the present.

The Captain of the Second Ship, Hirato, was perhaps the most compelling character. He takes his role as a high ranking official seriously, but does care sincerely for his subordinates. He also has a subtle inspiring persona that the writing smartly utilizes, especially in the final episode when he’s talking to Gareki about the latter’s future. Tsukumo had little personality other than just being the super serious character for a good chunk of the show. That changed a bit in the latter part, when she realized that it might be her last night alive. Her monologue, saying how she wished she would have talked to everyone more, was genuinely emotional. Though she is good to have around, it would have been effective to see her actually die. It would have left an impact on the cast and viewer.

Nai’s character arc is a bit mixed. He works best as a character counter to Gareki. It is primarily because of Nai that Gareki starts to have a different mindset. The writing does a good job building and establishing the friendship between the two. Finally, the soundtrack is very good.

The Bad

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Characters are perhaps the most important part of any movie or show. Karneval does not have a bad cast, but not a particularly strong one either. Each of the characters have their personality trait, which is good of course. But, it seems like some of these characters are known by just their personality type rather than actual character. Gareki is a hotshot, Tsukumo is super serious, and Nai is naive but caring. These characters do get good moments, but they can’t be called “great” characters.

The biggest crime Karneval commits is the pacing. The story in concept is good, but it takes awhile for it to get rolling. 13 episode animes should not have filler, but you will find filler scenes in Karneval. The lack of an ongoing primary antagonist is also a huge negative. Well, I should say that there is a main villain, Palnedo, but he barely appears. (Where was he in the final episode?) One could argue Karoku is the main villain, but it is confusing of what exactly happened to him or what his ultimate goal was. The two most interesting villains were Uro and Meiga. If the writing was going to regulate Palnedo to background status with no conclusion, he should have been removed from the cast in favor of one of those two getting a bigger role.

Karneval ends at Episode 13 with an unsatisfying conclusion. Karoku is found, but Palnedo is still out there. If Karneval had a second season, this would be fine. But there isn’t a second season, making the “ending” lackluster.

The Verdict

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Karneval has a lot of potential that is squandered on filler scenes. Character interactions mix from great to mediocre. (Yogi’s befriending of Gareki and Nai was too sudden to be realistic.) Still, to call the show bad would be a disservice. The story is unique enough to keep the viewer engaged, and the action scenes have a nice style. The characters are interesting enough (but not superb) thanks to key developments. Karneval is fine, but there are better animes in the genre to watch.

7/10