They are by far the best anime! We counts down the best anime to come out all the time, including the likes of Blood: The Last Vampire, Vampire Hunter D, Blood-C: The Last Dark, and more!
10: Blood: The Last Vampire
English: Blood: The Last Vampire
Japanese: BLOOD THE LAST VAMPIRE (ブラッド ザ ラスト ヴァンパイア)
MAL Score: 6.90
Teropterids are evil beasts which pose as humans and live only to drink human blood. Fortunately for the human world there are groups dedicated to destroying them. A brooding and mysterious girl named Saya is the best teropterid slayer there is, and now, in 1960s Japan, she is sent to a U. S. army base which may be infested…
But is is any good?
The story is a fairly straightforward tale of violence, with vampires, girls in sailor-fuku, and big things with wings thrown in for good measure. Blood is nothing if not direct with it’s approach, something which I applaud as the penchant for anime has often verged on the melodramatic, and one needs only to mention a fight from DBZ…
Plotwise this is actually a rather enjoyable romp in the realms of fantasy action. Being an original concept, rather than a remake/re-envisioning/adaptation/copy, the writers had the advantage of being able to tailor the plot any way they wanted to, and with director Kitakubo Hiroyuki having artistic license with the material, it’s only natural that Blood has an experimental feel to it at times. The story moves along from start to finish at a fair clip and, whilst there is very little in the way of background detail, what information is imparted to the viewer is done so in the same direct manner I mentioned earlier.
There isn’t really any beating about the bush here, which is refreshing to see, however the movie does have some problems here and there with it’s plot, the main one being that it simply peters out instead of reaching a proper conclusion. This can give the movie an unfinsihed feel, and can make the viewing experience unsatisfying for some people (although I don’t see it as a problem – explanation later on).
As I’ve mentioned already, Blood was made using techniques that were a clear departure from standard anime practices, but what does that actually mean anyway?
In the simplest terms, Bood is a visual feast. The use of digital animation over tradition cel based methods means that the movie can run at a higher speed than normal. The result of this is that the animation is far more fluid than it would normally be. Likewise the “rough and ready” design of the characters, in particular the adoption of rough lines over smooth with character features and clothing, adds a far more natural element to the overall product. These two factors, when coupled with the movie’s low-level of lighting and muted colour palette, produce some startling on-screen effects, in particular a kind of natural “motion blur” (ask me if you want an explanation).
The movements of the characters and the Chiroptera are extremely natrualistic, far more so than one would expect. The use of rough lines also manages to convey a depth of emotion from the characters that is just not possible to achieve with clean, simple lines. Terada Katsuya, the chief character designer, explained in an interview that the use of rough lines in the movie was to reflect the fact that there are no clean and simple lines in real life. The movie uses this fact to provide characters that have some of the most expressive features I’ve seen in anime.
The other area of departure was in the movie’s audio department. Blood, unlike other anime before, was made to have an English dub with Japanese subtitles (making it the first anime to do so). Production I.G. had made their target audience the Western anime markets and they had to make the movie appeal to Western fans. Ironically, the dub is also one of the reasons why the movie became a hit in Japan. Most Japanese fans found it a novel experience to watch an anime that was clearly Japanese, but in English with subtitles.
Aside from the dub, the sound effects were truly astounding. The various crashes and bangs, the sickly, fleshy noises, the whines and screeches, and more besides, are all lovingly realised. The atmosphere is positively littered with noise of one sort or another, with no scene being truly silent (even though it may initially sound that way). This lends a depth to the overall atmosphere of the movie, and highlights the fact that whilst Saya may be fighting otherworldly creatures, the rest of the world is proceeding as normal.
Musically the movie is actually pretty good. What music there is, is often atmospheric, but muted to a degree so that it doesn’t impact too much on the scene. This is a pretty effective way of heightening the tension, and whilst it’s nothing new in terms of visual media, it’s nice to see the technique used to good effect here.
Blood: The Last Vampire may be a visual and aural triumph, however this has come at a cost. The characters are individuals to a tee, however they are also one dimensional. The movie is very short, so there is little room for character development in any way. The viewer is given some hints about Saya, but these are nowhere near enough to satisfy the diehard character junkie. Everyone else though, will simply ignore this in favour of watching some great action.
I, personally, think that Blood: The Last Vampire is one of the unsung heroes of modern anime. Not only does it have some of the best action available in the medium, it also pioneered several techniques that have become standard practice in the industry. The movie has received phenomenal success both in Japan and abroad, garnering numerous awards and accolades along the way.
That doesn’t mean that you’ll enjoy it though.
Because of the problems it has with it’s characterisations, and the story that doesn’t really go anywhere, it would be easy to say that this movie is nothing more than a glorified advert for the manga and light novels. This is a justifiable perspective, however I think that rather than focusing so much on those issues, one should simply watch this as if you were watching Die Hard, Lethal Weapon, any Schwartzenegger movie, Rambo, etc. This is actually the best way to fully appreciate the movie in fact, as it isn’t meant to be a cerebral effort, but an entertaining one.
If you haven’t watched Blood: The Last Vampire, then you may be missing out. This is an iconic anime that pushed the boundaries of the medium, as well as reminding Western studios and critics that anime was coming of age. I found this to be a most enjoyable fantasy action romp that didn’t require any deep thought or introspection. In the same direct manner of the movie, it did exactly what it set out to do.
It entertained me. Nothing more, nothing less.
It felt like I walked into the theater 15 minutes late, then part way in I forgot I had to be somewhere and had to leave 15 minutes early.
The animation and art design is quite nice, but the lack of character development and very minuscule plot left me feeling so bewildered and confused – I still don’t understand why this was apparently so popular at the time it came out.
Over all this OVA excells. The story is so well-written, it might not have that much in the way of character development due to how short it is, but the way they present the vampires is very believable, the director himself stating how he wanted to present vampires as in-between evolution, something few anime do, or overdue as is the case of Trinity Blood, where there is evolution, but it is accompanied with near magical powers. Blood has none of this. The transformations are gruesome, and the end result a bat-like creature not unlike the one found in Batman. This is why the story and animation are great, they pull out all the stops to present this version of chiropterans (vampires) as something that might indeed exist.
The main character is silent, so in terms of sound there isn\’t much to say about her, but the screams of the chiropterans can be to some bone chilling, and the dialogue wastes no time ensnaring you in the story, with pretty well cast voice actors, and an ocassional scene thrown in to leave you confused and wanting more, you\’ll know when and if you have seen it, particularly towards the end.
Excellent story, inspired artwork, great battle scenes and loads of vampire goodness make this a must see for anyone into vampire or horror anime
9: Vampire Hunter D
English: Vampire Hunter D
MAL Score: 7.06
10,000 years in the future, the world has become a very different place; monsters roam the land freely, and people, although equipped with high tech weapons and cybernetic horses, live a humble life more suited to centuries past. The story focuses on a small hamlet plagued by monster attacks and living under the shadow of rule by Count Magnus Lee, a powerful vampire lord who has ruled the land for thousands of years. When a young girl is bitten by the Count and chosen as his current plaything, she seeks out help of a quiet wandering stranger, D. It so happens that D is one of the world’s best vampire hunters, and he takes it upon himself to cut through Magnus Lee’s many minions, and put an end to the Count’s rule.
Novels, Manga, Anime: Vampire Hunter D was originally a series of seventeen novels written by Hideyuki Kikuchi and illustrated by Yoshitaka Amano (famous for his work on character designs and the logos for the Final Fantasy series) starting in 1983.
Vampire Hunter D was adapted into two separate media; manga and comics. The manga was an adaptation in which Kikuchi hand-picked the artist, Saiko Takaki, began running in 2007, was licensed Stateside by Digital Media Publishing, and is currently ongoing. The comic, whose rights were acquired Devil’s Due Publishing (the parent company of Digital Media Publishing) in July 2008, is known as Vampire Hunter D: American Wasteland, and will be written by Jimmy Palimotti (known for writing the Sci-Fi series Painkiller Jane and work on Monolith).
Vampire Hunter D, an 80 minute movie, was produced by Ashi Productions (known for their work on the Sailor Moon S and SuperS movies) and directed by Toyoo Ashida (famous for his work on… well, there’s nothing really to speak of here). It was released in 1985 in Japan and licensed Stateside by, in order, CBS Theatrical Films, MGM, Streamline Pictures, and, the current holder of the license, Urban Vision Entertainment.
Story: Doris Lang, the daughter of a werewolf hunter, is out hunting werewolves one night when she is bitten by Count Magnus Lee, who then decides to make her his bride, marking her with his bite marks. She hires a vampire hunter known only as D, who she meets out in the middle of nowhere one day, offering him food and herself to take out the Count and save her from becoming his bride.
…Where to begin with this?
This story is all over the place. I mean, there’s a general narrative here, and it’s something resembling coherent when it’s looked at overarchingly. In execution, however, it is made of WTF. There are sudden jumps from scene to scene, subplots are bought in out of nowhere, and twists are thrown around like they’re candy, with all of this having little to no explanation whatsoever. Moreover, the thing just drags, with scenes seemingly added simply for the point of drawing out the movie, which really shouldn’t have happened.
I honestly can’t tell you what the hell happened here. I was watching this with my anime club tonight, and we just gave up on even trying to understand what happened about a half hour in and just started mocking it mercilessly.
Art: For the 80s, this is halfway decent. The character designs are extremely pointy and detailed, but they’re based off of Amano designs, which explains a lot.
However, it has not aged well. Action scenes are done mainly with pulsating lines in the background, not to mention flashing lights that could probably induce epileptic seizures in those susceptible to them. The movie’s extremely heavy on the gore, but the way that blood works in this is incredibly stylized and not even close to reality in the slightest. Characters’ color palettes will change from scene to scene, far more than lighting should account for. Most notably, the hat that D wears creates a black void in the upper part of his face with only his eyes showing, and it’s incredibly painful to watch, especially when it doesn’t move even when the lighting does.
There is some nudity in here, however, it’s not really all that well done, and it’s paired with images of death and gore and such that I’m sure that, by the process of association, if you showed this to kids, they could very easily never ever ever want to have sex ever.
Music: Meh. I didn’t notice this much, but it didn’t make that much of an impression on me, either. So, we’ll say passable.
Seiyuu: As with the music, I didn’t notice them that much, but neither did they make that much of an impression on me, so, again, we’ll say passable.
Length: This movie just dragged on and on and on; it should’ve ended at the hour mark, and a good deal of the "twists" could’ve been cut out, and it would’ve been semi-decent.
Overall: Don’t watch this. It’s not worth it, except for mocking purposes.
Overall: 25/50; 50% (F)
Time to look at a 1985 classic that made a huge impact on the popularity of anime in the US. It is the height of the Cold War and Reagan is in the White house. This was before Akira and Ghost in the Shell and besides Speed Racer and Astro Boy, Americans had no idea what anime was. All of a sudden we Americans see a cartoon with ultra violence, tits, and crazy steampunk nonsense that is never explained. We take one look at this incoherent acid trip and go…FUCK THIS IS AWESOME! This was the birth of the teen and older anime community in the United States. This is Vampire FUCKING D!
Plot and characters: 5/10
The plot is that 10,000 years the future, vampires have taken over the world and human civilization is a mixed up mess of modern technology and 1800s Romanian peasantry. Why? Who the fuck cares!? This is Vampire Hunter D, we don’t need no stinkin logic! A powerful vampire lord called Count Lee in reference to Christopher Lee is terrorizing the countryside. A half human half vampire of noble vampire birth has decided to side with the humans and take down the vampires. The plot and cheesy voice acting will immediately remind the viewer of the Castlevania games and especially Symphony of the Night. However, this was actually made before the original Castlevania on NES and actually helped inspire the Castlevania series! One bizarre but funny thing in this film is that D also has a hand with a mouth that eats things (now we know where Deidara gets it), but unlike Deidara’s, this hand never shuts the fuck up. D at one point even has to threaten to cut it off if it won’t stop talking! In the end, D rescues the damsel of course, kills Dracula/Lee and the castle crumbles exactly like in the end of every Castlevania game. Actually the design of the castle as seen from the outside in Symphony of the Night is based on the castle in this movie!
Art and sound: 5/10
The art was decent for the mid 1980s and there wasn’t really a high standard for anime at the time. It looked better than any anime Americans had ever seen to that point, so keep that in mind when watching this from a modern perspective. Saying the animation sucks is like watching Fritz Lang’s Metropolis or Sergei Eisenstein’s Alexander Nevsky and saying the special effects suck. It simply isn’t helpful to compare to modern standards and you have to appreciate how great it looked relative to its own time.
Don’t expect amazing story telling or character depth, but this is a must see for people that want to learn more about anime history and for fans of Castlevania! It is nostalgic, cheesy, and a fun way to spend a boring, rainy afternoon.
Story: The story is ok. I felt they spent too much time focusing on the story when it would have been much better for them to use the story to transition the action scenes. They make it a little less complicated than the book, but not to the point where it really detracted from it.
Art: The art is VERY old-school. You have to get over that very quickly or else you’re not going to enjoy this anime at all. That old-style seemed so uninspired to me, it wasn’t trying to be incredibly original and it wasn’t.
Sound: With the old-school art comes the old-school sound effects..again get used to them. I can’t say that I enjoyed the music, but that would mostly be because…it’s old, it didn’t stick into my mind at all as to what it could have been.
Characters: This is where this anime falls incredibly short. Every single character is a stereotype. You have D, the most incredibly powerful vampire-hunter on the face of the planet…and you really know it. He never seems to struggle and in every battle you know he’s going to win. Magnus Lee…what can I say about him? I watched the dub…because it was the only one available to me and they just tried to make him the image of Dracula. But my biggest concern was Doris Lee. In the novel she’s a powerful woman, she kills monsters too and she does a great job of looking out for herself and her brother. In the movie they make her dependant and very weak, no character for her at all.
Overall: Watch this for the experience. If you’ve been watching only recent anime, stuff from the last 2-3 years…watch Vampire Hunter D and appreciate how far along this art work has come. After you’ve watched this, watch Bloodlust.
8: Blood-C: The Last Dark
English: Blood-C: The Last Dark
Japanese: 劇場版 ブラッドシー ザ ラスト ダーク
MAL Score: 7.18
Having escaped the many horrors of her village, Saya Kisaragi vows to hunt down the monster responsible and make him pay with his life. As she tears through flesh and bone for her vendetta, she encounters SIRRUT, a group of ingenious hackers, who enlist Saya to help them defeat a common enemy—someone she knows all too well.
Unfortunately, the path she follows is paved with tragedy, as once again, Saya faces betrayal at the hands of those she has come to trust. With her back against the wall, the fearsome monster slayer must fight with all her strength and skill if she is to overcome this final mission and exact vengeance.
Now we have Blood-c The Last Dark, a title which still makes no sense even after having seen the film. So let me answer the first question you have. Is it better than the tv anime series? Honestly, yes it is. But considering the quality of the tv series that isn’t really something hard to accomplish. Despite that it still remains a poor film. Starting with story. Much like the tv series, a large amount of the film feels like padding. We are treated to a familiar vampire fight on a train which in turn causes Saya to meet the members of a a group called “Surat” which happen to be teenagers.(Naturally) From this moment on the plot progression comes to a complete halt. For well over forty minutes we are shown mainly the overly out of place comical characters of Surat. But then plot kicks in gear again and remembers what it’s supposed to be focusing on and we are treated to an action scene and really that’s about it. This supposedly inspires one of the members of Surat to get their ass in gear and direct Saya to the end boss. (Which apparently is a building that nobody can find despite it being clearly viewable from the coast of the city.) From that point on all the characters of Surat are rendered completely worthless. They don’t appear again except for the epilogue and they don’t effect the plot in any way. The finale is rather disappointing and anti-climatic. I had hoped that the writer would have learned from the tv series that twists that come out of nowhere for shock value is not good storytelling. Apparently they didn’t. It really says a lot when they take the time to create a giant monster which in turn is defeated in a single strike within moments. Overall a large amount of the story feels unnecessary and plot points such as the curfew placed on minors are dropped with little explanation or exploration.
I cannot say the art was bad. However I can say I was underwhelmed by it. If you were keeping an eye on anime news then you would know that this movie received a grant from the government so there was no reason they couldn’t go all out with the animation. Still I didn’t see anything truly impressive. Honestly the quality was similar to that our the currently ongoing psycho pass in my opinion. This is just speculation but either all that cash went into the characters exaggerated reactions and cg or it might be the reason Production I.G has seen a sudden increase of productivity with anime series.
Sounds is something I can’t comment on as I didn’t take much notice of it. Though if I had to derive an opinion based on my watch I would deem it forgettable.
Characters are something of an oddity. Saya has traded her annoying bubbly carefree personality from the tv series for a more stereotypical broody cold type. There really is not much to say about it. Our main antagonist is a jumbled mess. Mainly because he has little to no focus in the film at all. He appears briefly at the beginning, briefly at the middle and then at the end. So his motivations remain confusing and nonsensical. The rest of our characters is where the movie spends most of it’s time with which to me is rather odd way of using your limited time. This is because of the pointlessness of these characters to the main story. The members of Surat hold no purpose in the story besides two instances of telling her “Go here to find Fumito” and justifying a silly twist at the end. In retrospect that time spent developing them could have been better used to develop our two main characters seeing as they are the ones effecting the actual story and most need fleshing out. Also I really need to point out again just how out of place these Surat members are. They act much like characters in a sitcom and clash greatly with the atmosphere of the story itself. You can’t exactly show us Saya killing a monster brutally and expect us to brush that off and enjoy comic relief. On that note, a loli learning to type on a keyboard with her feet is the most ridiculous thing I have seen. I mean even someone who isn’t that into computers can tell you that not many computers allow you to use two keyboards at the same time, also no computer lets you type into two windows simultaneously. So that really makes typing with your feet a pointless skill.
Really I feel sad for the blood series. If only a competent writer was hired then maybe something great or at least fairly enjoyable could have came out of Blood-C. But here I am watching an hour and forty minute film with a bored look on my face
The issues definitely begin in the characterisation. Nobody is interesting. There is no emotional attachment to any of the struggles they go through, and we ‘care’ because the movie tells us to. Fumito definitely had the potential to be a remotely decent villain, but even there we are let down.
The animation is mixed, but overall it is fairly negative. Much similar to the series Blood-C, the majority of art enjoyment comes from the monster design – and while a lot of what appeared is clearly rehashed from Blood+ and the entire Blood series (if you dare group them together), it is still the high point. For the remainder of the scenes, the animation is carefully guised to look pretty with that distinct I.G. style, but with some inspection the flaws are gaping. The CGI scene? Lets not go there.
The plot itself made no real sense. The concept was clear, but the whys and hows of it were significantly lacking. There is no resolution, or even understanding, of the events that transpire and why we should be interested in them. Watanuki appears simply as CLAMP fanservice, in a drawn-out sequence which was really unnecessary.
Blood-C has concluded to be a trainwreck of a project. With I.G. having input, one would have hoped for a return to the glory days of Blood: The Last Vampire. However the final project is nothing short of ridiculous, and while it is a definite improvement from the series it is still not cutting remotely close to average.
I’d like to firstly recommend everyone to watch the Blood-C specials because they summon up the series really well. The specials go straight to the point without leaving behind important information. The feeling you get after watching it will help you when you watch the movie directly afterwards.
Ofcourse if you saw the series then even better. I saw it as well, yet bcs it has been so long since, I watched the specials and it helped me remember every feeling.
Do you know how it feels to be betrayed and lied to? Have you ever hated yourself for what you believe happend because of you?
Try to picture it. Try to stand in her shoes.
I admit that in the series her character may be very annoying, hell even I thought so at times. But in the movie they made up for it.
Some say there is no character development, well I think they’re wrong.
In the beginning of the movie Saya is cold, you can’t blame her after what happened. Gradually she changes yet stays herself.
Whats diffrent? She found someone like her. No, not a ‘monster’ but a person.
That person as well changes into a stronger someone because of the person’s encounter with Saya.
Saya seeks for revenge but in the end is it really as she thought it was?
Watch the movie to find out what happened in the end. Find out the truth behind all these masks. //Nothing is as it seems.\\
Overal the sound was alright actually. It wasn’t wrongly added in a disturbing way. They mainly added it where it was needed for the tension.
So overal a 8/10 for me.
aaah Clamp and IG did an amazing job as is expected, definetly a 9 out of 10.
The animation is beautifully done and the monsters I have to say are discustingly amazing!!
The exesive use of blood is indeed still there but hey once you start it off like that, why not finish ;D
The movie actually has a great story and it goes straight to the point: her revenge.
As for the title: “The Last Dark”, I think they actually explained that in the end of the movie when Fumito ‘explains’ a few things about Saya.
So be sure to look out for that 😀
In the end I give the movie an 8,5 out of 10.
7: Servamp Movie: Alice in the Garden
Japanese: 劇場版 SERVAMP -Alice in the Garden-
MAL Score: 7.23
The Servamps and their pact-bound “Eves” are finally getting back to their normal lives as they recover from their injuries from the previous battles. However, when it starts snowing in the middle of summer, one of the Eves, Mahiru Shirota, suspects vampiric interference. Concerned by the strange phenomenon, he sets out to gather the group once more to try and solve the mystery; however, they suddenly lose contact with Misono Arisuin, the Eve of the Servamp of Lust.
Servamp Movie: Alice in the Garden delves into the untold past of Misono and his brother Mikuni Arisuin, as well as the many mysteries of the grand Arisuin Mansion.
The only positive thing I can say about it is the animation. It’s actually not that bad. The character designs were unique and each episode was often consistent. The action sequences weren’t terrible, but still a bit uninteresting. I did like it when the style changed like when a Servamp was using its powers or we were inside their minds.
Although it had some good ideas and animation, “Servamp” is still pretty boring with nothing to it. If I may be completely honest, the only thing that I truly got out of the show was the opening theme. It’s one of the styles of music that I love, but what got me was how unexpected it was. I had known beforehand that this was based on a shoujo manga, so this opening surprised the hell out of me. Knowing there are major differences in the manga, I may give that a shot someday. Otherwise, I don’t plan on revisiting the anime
The story was alright, though not particularly very elaborate and the suspense was next to nothing. It was mostly about the things Lily, Misono’s father and the servants were keeping from him (his whole past basically). Everything else revolves around it. 5/10
The art was the same from the original anime. The effects were nothing really impressive, but it wasn’t bad either. 7/10
The sound was good, I liked the ending. 8/10
We got to see pretty much of Lily’s and Misono’s Father’s characters, and also of Misono’s (but we knew his character from before too so it’s not that relevant). I particularly liked Lily, I thought his character was interesting. 7/10
Enjoyment 8/10, and overall 7/10. As a Servamp fan I enjoyed it, but if you’re not a fan of the original anime (or at least enjoyed it) then I don’t think there’s any reason for you to watch this, since it’s basically the same dynamic and all that shit.
6: JoJo no Kimyou na Bouken: Phantom Blood
English: JoJo’s Bizarre Adventure: Phantom Blood
Japanese: ジョジョの奇妙な冒険 ファントム ブラッド
MAL Score: 7.70
An adaptation of the original five volume arc of the popular JoJo’s Bizarre Adventure manga, covering the Phantom Blood chapters. Jonathan Joestar is an aristocratic boy whose life is suddenly turned upside down by a mysterious new boy who arrives, Dio Brando. Dio has a connection to his father, and over time, a rivalry forms as Dio becomes obsessed with a mysterious, ancient, and mystical stone mask that Jonathan’s father keeps.
5: Vampire Hunter D (2000)
English: Vampire Hunter D: Bloodlust
MAL Score: 7.89
The story revolves around D, the infamous “dhampir” (born of a vampire father and a human mother) outcast and renowned vampire hunter. His prowess at hunting the creatures of the night allowing his acceptance among humans, he is called upon to locate Charlotte Elbourne, the lovely daughter of an affluent family who has been mysteriously kidnapped.
When the sun sets, the hunt goes on! Charlotte’s father offers a rich bounty, be she dead or alive, a task D willingly accepts, even with notorious Markus brothers and their gang of bounty hunters seeking the prize as well. Amidst the chase and unknown to all lurks, a sinister evil which has been secretly manipulating their every move and has set a chilling trap that none will expect and few will survive. With the tables turned and the secrets revealed, the hunters could quickly become the hunted!
The story seems simple on the face of it, but couched in the plot are beautiful layers of character development. A vampire hunter, D (a dunpeal or vampire/human half breed) is commissioned to recover a rich man’s daughter, Charlotte, who has been kidnapped by a vampire. She is wanted dead (if turned) or alive (if still human).
D meets up with a band of bounty hunters, all of whom have their own special powers, and personal demons. Against them are an array of gypsy monster/vampires. The animation and sound are so good that one feels compelled to watch and rewatch the fight scenes just because they are so well done. Each character is different and their story comes through, the only fault is the minor villains’ motivations could have been made more clear.
The pacing of this movie is excellent, and it is definitely theater quality in all respects. I’ve introduced my friends to anime by showing them this movie, a few have become fans. The only drawback is after viewing this masterpiece, some of them complain it is hard to get other anime of this caliber quality (plot, action, animation, character, sound).
Unlike the original Vampire Hunter D, the Bloodlust movie is gothic, gory, beautiful and touching. Highly recommended to be watched on a big screen, preferably with surround sound. You won’t be disappointed if you rent/download this. It’s so good you’ll want to own a copy to add to your anime collection, as the rewatch value is very high.
D is a half-vampire, half-Mexican–er, wait. Anyway, D is not human but he’s not exactly a vampire. His powers allow him to hunt most other evil vampires and he takes up a mission to save some stupid human girl who wants to get it on with the undead, and so runs away with her vampire lover. While D tries to get the hussy back, a rival gang who also hunts vampires compete with him. This movie was excellence. Watching all the action, the fabulous choreography of the fights were simply jizz-in-your pants worthy.
Art and sound were pure amazing. It looks beautiful, and D can make the straightest of men drool over his beauty, really. He was hotter than the chicks, believe it or not. Sound was cool, felt like I was listening to an epic horror flick. Which I was.
Characters weren’t so hot except for D who we’ve established is walking, delectable man-meat for the ladies and just the sort of guy folks like myself just wanna hang around and kill things with. Anyway, D’s just cool and aloof and can kick all types of behind. The rest of the characters were cool as well, I didn’t have a problem with them, since most knew when to die anyway.
All in all, Bloodlust is the best Vampire Hunter D movie ever. And it is better than you, too.
The dvd available in North America (at least in Canada) is only available in the english dub. For elitetists this is a huge problem, but the dub isn’t terrible, it’s pretty good as far as dubs go.
The theme for this, doomed love, is played so beautifully in this. There were a few scenes that almost moved me to tears. I loved the way the story progressed, they adapt it quite well from the book. The Markus Brothers and Leila also keep the pacing of the story quite well. There are a few scenes with them that really add alot to the story. There aren’t alot of loose-ends, and it ends semi-ambigously but they add a very comforting scene right at the end.
The art in D is good. It’s very distinctive, there are some beautiful subtleties to it. They put alot of time into some of the scenery which really show off the skills of some of these artists. Some of the character designs bug me, villagers all seem to have the same kind of frame and all moved very similarly. But they play a small part in the movie and the Markus brothers have some nice designs.
The gothic soundtrack in this is very nicely composed. It definitely suits everything that happens in this. It greatly heightens all the emotions you would feel anway. It conveys the hope and the hopelessness of it, as well as the darkness of the time.
The characters have changed slightly from the novel. These changes are for the most part quite nice. As far as progression of the story the characters pull them off quite nicely. I had a few problems with the changes that were made, but the changes they made push the anime in a completely different direction. D is how D always is, they don’t change him at all…and they don’t need to.
As far as vampire anime go this one is quite good. They show vampires in both ways, both as super-powerful as well as being weak zombies. So people who like both style of vampire won’t be dissapointed. If you’ve seen the first movie and were highly dissapointed then you definitely need to watch this. It’s a great movie, but if you can’t find the jap audio don’t sweat it too much, the dub is decent.
4: Kizumonogatari I: Tekketsu-hen
English: Kizumonogatari Part 1: Tekketsu
MAL Score: 8.39
During Koyomi Araragi’s second year at Naoetsu Private High School, he has a chance encounter with Tsubasa Hanekawa, the top honor student in his class. When they strike up a conversation, Hanekawa mentions a shocking rumor: a vampire with beautiful blonde hair and freezing cold eyes has been seen lurking around town.
Happy to have made a new friend, Araragi writes off the rumor and goes about the rest of his evening in a carefree manner. However, on his way home, he stumbles across splatters of blood leading down the stairs to the subway. His curiosity pushes him to investigate further, so he follows the gruesome pools into the depths of the station.
When he arrives at the source of the blood, he is terrified by what he sees—the rumored blonde vampire herself, completely dismembered. After she calls for his help, Araragi must make a decision, one which carries the potential to change his life forever.
I’ve been a fan of The Monogatari Series for quite some time and honestly like every fan out there who seen this series back when this movie was being announced on 2011 – 2013 Gap. We’ve been SHAFTED 3 times after all and each one those hurt a lot for us fans.
I almost teared up as I found myself dumbfounded sitting down waiting for the show to finally begin. Suddenly filled myself with reminiscence of the entirety of the series that went right in front of my eyes, Preparing myself mentally for what was about to begin. The very foundation of NISHIO ISHIN tale, A tale he at first didn’t planned to publish was now right in front of my eyes on the form of a animated movie adaptation.
However did SHAFT make up for their cruel games of leaving the fans holding their breath?.
Story 10 / 10
Given that it is unfair to do a review of a story since this is 1 / 3 of then light novel adaptation, I will say that the first quarter was meticulously executed to perfection.
Inner monologues as well as narrations are absent on this adaptation and are substituted by visuals and symbolism that do it instead meant to challenge the perception of the audience. It compliments the dialogues and storyline presented on this first adaptation.
I always wondered how would SHAFT open Kizumonogatari as the novel opens up to the readers as a flashback of Araragi Koyomi as he has a memory he has kept out of prying eyes and deemed the occasion fit for him to talk about the Hot Blooded, Iron Blooded yet Cold Blooded Vampire. Kiss-Shot Acerola-Orion Heart-Under-Blade later on know as simply “Oshino Shinobu”.
The Film opens up with Araragi Koyomi wandering inside a building as it were a maze, He explores multiple rooms and decides for the stairs. All this going while on silent as there is no sound but his heavy breathing. He reaches the top and upon opening the door encounters a dense like gray sky filled with clouds and surrounded by hundreds if not thousands of crows as they eerily make sounds as if something awful is about to happen, an Ill omen.
Araragi ignores the crows as they persist as though they’re warning him not to keep moving, but he does and stares blankly at the sky as he sees just the shape of the sun but it don’t quite make it out of the clouds. The sun rays start to break free of the cloud and Araragi doesn’t noticed that little by little he is catching on fire, After he notices it he panics and falls 2 stories down to the ground but shares a moment with “Bakemonogatari” as his falling mimics Senjougahara Hitagi never ending fall but with the difference that Araragi Koyomi plummets like a asteroid enveloped in flames towards the ground.
The picture turns black and we quickly are moved to Araragi Koyomi walking on the streets right in front of Naoetsu High School just to encounter Hanekawa Tsubasa right across!. The rest you’ll have to see.
[For the people who have read “Wound Tale” as Vertical-Inc has named Kizumonogatari for the English translation. Kizumonogatari: Tekketsu-hen adapts the first 100 pages of the novel chapters 001 – 006 in all!.]
Art 10 / 10
Crisp and clean, The art and animation showed to the fans it’s outstanding truly impeccable, A somewhat strange blend of animation with what seems to be realistic CG that works out on a way that you would never think it would on a rather extreme positive way. As always SHAFT proves impossible doesn’t exist on their book of words.
The symbolism is put to well use and the sounds placed on the right scenes are outright powerful to leave you with a dry mouth with nothing to say.
Araragi Koyomi as well as Kiss-Shot on their fateful meeting had a lot of work done on regards to corporeal and facial expressions so much so that’s it automatically silences the theater when there was a comedy just moments ago.
Sound 10 / 10
The voice actors were on their A Game and the OST were on point and so well done that you can’t help but to have your both hands on a triangular manner on which you are left breathless to how much you can get into this 1/3 of the trilogy.
The auditory exposition was masterful and more than BGM the sounds used conveyed seriousness as well as reality checks for some of the characters. It as well highlight positions in power and the powerless on key situations throughout the film
Characters 10 / 10
The characters are used as a thread on a needle, Accurate and on par with the story. They’re well stitched together on complementary fashion that becomes a game of catch and you’re on the middle as you witness remarks and rebuttals done and launched around right in front of your eyes.
Enjoyment 10 / 10
I can’t go further than PERFECT, This film will have you gripped on your seat and you will be swayed to laugh and will be brought to tears, When you realize this was done with just a third of a trilogy you then realize that this series will go down as a Masterpiece.
The adaptation has been twinkled a bit so that your foreseen knowledge of the movie from the light novel doesn’t make it feel easy to anticipate. It is done on a way to hook the audience without removing the vitality from the novel.
The synergy between visuals and auditory expositions are masterfully done compensating for the cut of inner monologues and usual narrations that we are so used to Araragi Koyomi doing. It is done in such a way that it conveyed as much as the dialogue itself and work in perfect harmony.
The opening it’s great. I’ve gone over and over and I don’t see an alternate opening.
Overall 10 / 10
If you’re a Monogatari Fan you just have to witness this work of art, If you aren’t then give it a chance. There is a high chance you will be drawn to the series. Having said that, Rather than a prequel this is more of a Prologue nevertheless you can be assured that this film it’s worth every penny and more!.
I honestly have never wanted summer to come and I’m a winter person, That should say enough. All because I want Nekketsu-hen to arrive as soon as possible.
Let’s be honest, anybody who says they still like Shaft at this point in time really means they just like Monogatari. And the studio knows it because at this point, they’ve churned out more sequels to that thing than they have new anime. Except in Kizumonogatari’s case, it’s actually a prequel. Or to be more precise, “the” prequel, because this thing has been delayed so long that people were afraid it was going to become the anime equivalent to The Thief and the Cobbler. Can’t imagine why people wanted it to be adapted so badly, considering it’s just the story of how Hanekawa and Shinobu first met Arararagi and I don’t know why you’d need to see that. Or why it needed to be a movie to begin with. And what exactly is so important about getting the quality right that you needed it to be split into three parts? Does Shaft think Kizumonogatari is their 5 Centimeters Per Second or something?
I paid money to go see Kizumonogatari in theatres because I was almost certain I would hate it, and I needed more reasons to ignore the -gatari fans I hang out with when they keep trying to reassure me that “this segment is the best one yet” like a Jojo fan going through rehab (which incidentally, they are too, minus the rehab part). Every single Monogatari thing that I’ve personally seen has been nothing but every inexplicably popular light novel adaptation ever. Always full of unfunny conversations that do nothing but build character for the sake of building character, or move plot points along without attaching any sort of story to it whilst having all the female characters get their panties in a bunch for that one lone male who ends up saving them from a terrible fate as a bonus. So with all the hype built towards this film, I was kinda looking forward to see if it was worth the long wait, and whether it would actually differ from the other adaptations or if it was just the fans praising shit that has less differences from the previous iterations than a Ubisoft sequel.
Well it turns out that the reason for the long wait is so they could properly animate Arararagi getting set on the best-looking fire you’ll ever see. No, I’m not kidding. Get close to the screen and when the scene occurs, you’ll actually be in danger of getting your eyebrows burnt to a crisp. Hope you consider the flames worth the price of admission, because everything else about this movie is so bad – so fucking NOT worth the fifteen bucks – that I was glad Boy and the Beast was also airing on the same day, because I needed to watch another movie after that and it helped that it was only $7.50 for a ticket. HALF of what I spent on Kizu in order to watch a movie that’s TWICE AS LONG. That is bullshit!
I actually kind of wished I waited until it got subbed online, because then I could mute the video player, turn off the subtitles, and just watch some pretty visuals for an hour. Sure they’re not exactly on the level of the works produced by my favorite anime directors, and I can’t work around the stupid “title card segues” and the cheesecake shots – but if I can sit through an animated Adam Sandler film with those conditions, I can live with that. Because whilst the incredibly large audience at my theatre were having a big laugh at stuff I didn’t get the joke of several times throughout the movie, I initially sat down pondering how they were going to impress the fans, and by the end I was slumped all over my seat wondering how much longer I had to sit through this pig shit. At least up until the ending credits, where I literally woke up from my seat and started shouting obscenities for reasons I’ll get into later, before leaving the theater whilst everyone around me spoke about how much they enjoyed themselves.
So we all know the basic outline of the thing, but what exactly happens in the first part of Kizumonogatari you may ask? Well it’s pretty much a poor man’s combination of Mind Game and the vampire arc from the latest season of Adventure Time, two much better cartoons. Arararagi meets Hanekawa one day and the two have that usual Nisio Isin inexplicably long conversation before the dude walks off into a random subway in order to meet a busty vampire. He lets the vampire drink his blood after another long conversation and gets turned into one himself. Then he finds himself hunted by three other vampires who mostly like to jump around alot rather than throw a punch or a bite and meets Oshino through them. That’s literally all that happens in this film: meeting and talking, meeting and talking, an explanation for Agakawi’s (yes I’m misspelling this on purpose) vampire powers and how they work, and then more meeting and talking while I try to figure out where the fucking story is.
It doesn’t even have the same level of standalone-ness with each installment as previous anime-told-through-movies like Break Blade or Kara no Kyoukai has. After Hanekawa’s introduction, she never shows up again for the rest of the film. And the three vampires that are hunting Arararagi? They don’t even have a line, let alone are given any names or personality whatsoever, thus causing them to have zero chemistry with the dude. Why? Because we had to devote the necessary screen time to making it clear that our lead character is a pervert who likes his busty ladies. This is script-work I’d expect to see from the writers of Mortal Kombat Annihilation. With screwdrivers lodged into their eyeballs so they can’t even see what they’re typing!
They even use those outdated shitty sound effects whenever a “comical” scene that adds nothing to the movie happens because we needed some way to get the audience to know you’re supposed to laugh at Hanekawa’s bouncing overly large boobs shy of a laugh track. And just to hammer the “nail of suck” in, after sitting through all that meet and greet, the film ends on a cliffhanger. A cliffhanger that literally made me do all the obscenity shouting I mentioned earlier because it just happens out of nowhere, right when Oshino puts an end to his conversation with Arararagi! I don’t care if there are two more movies coming out later. You wouldn’t say that about Shyamalan’s The Last Airbender film – not that sequels will ever be made – and even with the 3D glasses, it wasn’t as expensive as the ticket price attached to this crap!
Intriguing cliffhangers along with a slick (outdated) style and sharp dialogue that isn’t nearly as funny as it thinks it is are the only reason Monogatari (and Durarara for that matter given there’s still people saying it’s good with a straight face despite Japan all but giving up on it entirely) still gets a free ride, despite the fact that the core of the show has absolutely no thrust or tension to its themes whatsoever. Last I checked, story-focused shows require that shit to be intriguing. But then again, anime fans have proven for more than a decade that they’ll forgive lack of forward momentum as long as what lies on the horizon looks intriguing, and given that poll I did a while ago, that doesn’t look to be changing anytime soon. Seriously guys, “Bad Story #2” is in last place?
I just hope you fans realize that Shaft can’t rely on Monogatari to keep them afloat forever. Eventually they’re going to finish the thing, and what’s going to happen then? Personally, I’m all in favor of them getting help. The same kind that Manglobe got, preferably.
I actually LIKE the Monogatari Series for the most part. It has its faults, but overall is a fun series that’s different enough I keep coming back for the new seasons despite its flaws. So I’m coming from an honest place where I want to give it the benefit of the doubt and can’t. Tekketsu-hen was unbelievably appalling as a movie and I personally think it shows how little they think of their fans. Do they think we’ll like and rave about anything labeled “Monogatari?” Judging by the other reviews I’m reading online, that seems to be the case and it’s really hard to comprehend. Whoever wrote the script left out 90% of the charm the show does have. The show wastes tons of time, but fills it with witty dialogue. Almost none in Tekketsu-hen. There were a couple laugh out loud moments, but that’s it. I WANTED to see this movie, bought my tickets weeks in advance, and have really nothing good to say about it which is a huge disappointment.
3: Zoku Owarimonogatari
Japanese: 続 終物語
MAL Score: 8.48
Graduation day is finally here, marking the end of Koyomi Araragi’s eccentric high school life full of peculiar relationships with otherworldly beings.
However, Araragi is unexpectedly absorbed into his own bathroom mirror and trapped inside a bizarre world where everything he knows is completely reversed—the haughty Karen Araragi is shorter than usual, poker-faced Yotsugi Ononoki is brimming with emotion, and cute ghost girl Mayoi Hachikuji is a grown woman! But not everything is as it seems.
Zoku Owarimonogatari details the story of Araragi’s endeavors in this new world as he struggles to return to his home and understand the nature of this bizarre dimension.
Note: Watched this in Japanese cinemas. Japanese is not my native language and the monogatari series is quite complex to say the least. Therefore I might not have understood everything to the fullest extent. Luckily the BD release is just around the corner! Anyhow, this is still one of the best parts of the monogatari series in my opinion though.
So how you do you make a sequel to the end? Well, Nishio Ishin managed to it again! In my opinion, Zoku Owarimonogatari was not really needed to wrap up the main story. However, it is a neat little extra storyline for those who wanted to know what happened with Araragi after his graduation.
As I hinted at before, this story is about Araragi. Even though the main story line is practically finished, Araragi’s mind and thoughts has not reached the conclusion he wants. Araragi is kind of stuck in one place, he just finished high school but has yet to start college nor got any job, he became a nobody despite all the adventures he has experienced so far. Suddenly, a little bathroom mirror incident quite literally turns his reality backwards or “inverts” it if you’d like. The story is just as bizarre as one would expect from Ishin-sensei by now. All I will say is that as for someone who has been in the same shoes as Araragi regarding regrets in life and anxiety for the future, I can really appreciate this story. I really hope you will as well!
I won’t say more story-wise for those who are really looking forward to watch this, but I really want to talk a little about how Shaft’s anime adaptation of the novel is so splendid. Apart from the excellent story and the great characters we have come to love from the monogatari series (albeit a bit different this time), I really must talk about the animation and the effects in this movie. The animation and effects happen to be one of the best parts of this film, since they are in a sense so well adapted from the novel (Which makes no sense because novels do not have animation and effects). But hear me out! For those who has read the novel know the setting of this story, and the way shaft uses reflections to enhance the visuals and make the setting more trustworthy really blew my mind because it is something, I have never personally seen myself before in an anime. The amount of detail shaft has put into the “inverted/mirrored” reality, environment and characters really makes you further respect the love and effort Shaft has put into the monogatari series. I can’t wait to inspect the environment when I watch the film again.
The only thing that I think could have been slightly better is the background music, it is a slight step-down from earlier entries. It is worth to note that the music is still very good, but I expected much more depth from something like monogatari.
Overall, I really love this film, it is definitely one of the best monogatari entries but it’s kind of sad that the main story has come to an end. The monogatari series will remain one of the best series I have ever watched, and I am glad it has gone on for this long. Now, we just have to wait and see which monogatari novel is the next to get an anime adaptation.
¡ᴉɹɐʇɐƃouoɯᴉɹɐʍO-nʞoZ ʎoɾuǝ ǝsɐǝld
PS: Sodachi is great freaking waifu material in this one.
Every good thing must come to an end, or at least that’s how the saying goes. Not that it’s too good to continue on forever, but because it should end while it’s still doing well. If not, however, it is doomed to milk its already-explored ideas until it drenches all the quality from its previous work. Thus is the fate of the once beloved Monogatari series.
Promise of the Premise:
Zoku Owarimonogatari, captures the events that took place after the Second Season of Owarimonogatari, and before the epilogue to the series, Hanamonogatari. We are, yet again, tossed into another strange story that begins with a seemingly unfortunate series of supernatural events; Arraragi Koyomi, who is dealing with an identity crisis upon graduating high school, and is now having problems with moving on with his life, somehow finds himself trapped inside what he refers to as “the mirror world.” In this inside-out version of reality, he encounters all the people important to him, who are now fundamentally changed. We soon learn that the nature of the characters in “the mirror world” is to serve as the polar opposites of the ones in the “our” reality; they reflect all the characteristics that the characters in our reality tried to shut in.
For the most part of the show, we are left to explore the mirrored reality through Araragi’s lenses, as he spends most of the runtime interacting with altered characters as he tries to figure out the nature of the world he is stuck in. He quickly realizes that not only are the characters changed, but their very position in the world is off. And as the story moves on, there seems to be a bigger mystery hiding behind the scenes.
The setting seems to offer a lot of insight, both regarding the characters and regarding the story of the franchise looking from the grand scheme of things, now that the franchise has reached its conclusion in the previous entry. However, the show does none of that.
Toll of Redundancy:
The main problem of every milked continuation is its inability to cohesively add new ideas without contradicting itself in the process. Zoku Owarimonogatari, however, dodges this problem by having no new ideas whatsoever.
To observe the characters from the inside-out perspective would generally be a great move, and a useful tool when it comes to character development. The problem is, however, that every information about the characters that this introspection gained us was something we already knew and were aware of. Throughout the franchise we followed the characters as they all went through a similar path of development: they were introduced along with their demonic apparition, representing their negative sides and the parts of themselves they want to reject and deny, and then we see them as they overcome their flaws, or simply accept them and move along. Having that transformation inverted inside-out is nothing more but going back to the stage of development the characters were in when they were first introduced. Nothing new was gained in the process.
So to cover-up for such lack of progression, the show goes for a solution that I like to refer to as “madlibs storytelling.” Instead of actually providing progress in character dynamics, the characters are given a bunch of random traits that are supposed to fit in with the setting, but add nothing of substance aside from gimmick. And instead of using that to explore characters on any deeper level, now that we are given the opportunity to see the mutual interactions of their inverted personas, we are provided with nothing but a charade of randomized Monogatari characters, self-referencing series’ previous works. It’s filled to the brim with beating-‘round-the-bush philosophy, horribly timed comedy and general lack of direction.
What we are left with is a thin idea that tries to present itself as a gigantic one by hopelessly connecting to everything that the series previously built. A story that pays more attention to browsing its own catalogue of characters than it does trying to write or develop itself.
Through-out the runtime of 6 episodes, or a 2-hour long movie depending on which version you’ve seen, Zoku Owarimonogatari has constant trouble keeping up the pace, and balancing out it’s weak story and its unspeakable urge to fill in with as many redundant characters that were most likely put into the story for a mere self-reference. However, the worst part about this redundancy, as I said, is the fact that after those 6 episodes (or one movie) we are at the exact same place as we were before watching the show. Not only is all the information provided one we already know, but all the progress done in the mean time turns out to be inconsequential, if there ever was one. Zoku Owarimonogatari feels more like an alternative spin-off of a sort, with value of an average Christmas special: it serves no purpose except for you to indulge yourself in the known universe once again. And the worst part about it is that it doesn’t use said universe as a platform for exploring ideas, but rather as a playground for already-explored ones.
I won’t dive too deep into the spoiler section on this one, even though I don’t think this is an entry that deserves to be watched. However, I have to mention that the “explanation” of the story-wise elements might be the most disappointing thing that the franchise ever did. It all boils down to “everything that pointed to a bigger story underneath was a cover-up by a mastermind X,” which itself isn’t too far from the madlibs storytelling I mentioned before. The problem with this Aizen-like ass-pull is that it not only makes a fool out of you, the audience, for trying to figure out the answers, but it also makes all the build-up up until this point just a bunch of cool tension-building ideas that were put for the sake of it. The show forcefully asks of you to follow its plot, and then punishes you for doing so.
It doesn’t happen very often that a continuation shows no understanding of its predecessors aside from the surface-level analysis. Zoku Owarimonogatari is not only failing to understand the main motif of the series, “people save themselves. No one could ever save anyone else,” but it straight-up contradicts it. What was once a self-centered story about overcoming your own flaws and accepting yourself, is now a one-man Messiah story. And this severe contradiction is not only subtly implied throughout the show, but is presented as the very conclusion, slapped across our screens through an overly-sentimental closing montage.
There seems to be an ongoing misconception where people think adding another ending to the ending is what makes the conclusion stronger. However, not only is that not the case, but doing so actually takes value away from the ending. After all, if the ending isn’t complete, it’s not an ending at all. If a character needs five “moving on” stages to actually move on, it makes all the previous 4 stages completely redundant and stripped off of value. This matter is discussed in the final sequence of the show, where Araragi states that he is always unsure whether he should step onto the road with his left or right foot, and is advised by Senjougahara to instead carelessly jump ahead instead of thinking about the next move. Not only a very flawed idea with barely any thematic weight, but also a hilariously cheesy, out-of-place symbol. A fitting conclusion for the messy, incoherent story that this apparition of a show rightfully deserved.
Nothing much to say here, as the audio and visual style remained the same as the rest of the franchise, which is ironically enough, the only coherent part about it. However, I do have a few complaints.
While the animation quality sure is great, the visual narrative was oddly off. Framing is rather more concerned about looking goofy and looking somewhat visually appealing than it does trying to actually say something, which is not common for a Monogatari show. What bothered me the most about it is the downright awkward use of certain visual tools, such as using the frame dividers to capture character’s breasts in the main plan of the shot. It is vaguely pointed out that the shot may be constructed like that for a reason, since that would exactly be the thing that would occupy Araragi’s attention, but it’s still a very dull way of using it.
The audio was hardly even noticeable, and featured no iconic tracks of the franchise, not even the character themes which would be the most fitting considering the direction of the story.
Zoku Owarimonogatari is a painful exercise in redundancy, that serves as a great example of “stop while you’re still worth something.” It tries its hardest to keep the series alive by cramping as much memory of it as possible, but with little to no idea what is to be done with them.
From a long-loving fan, a somber goodbye to the franchise.
2: Kizumonogatari II: Nekketsu-hen
English: Kizumonogatari Part 2: Nekketsu
MAL Score: 8.60
No longer truly human, Koyomi Araragi decides to retrieve Kiss-shot Acerola-orion Heart-under-blade’s severed body parts that were stolen by three powerful vampire hunters. Awaiting him are Dramaturgie, a vampire hunter who is a vampire himself; Episode, a half-vampire with the ability to transform into mist; and Guillotinecutter, a human priest who is the most dangerous of them all.
Unbeknownst to Araragi, each minute he spends trying to retrieve Kiss-shot’s limbs makes him less of a human and more of a vampire. Will he be able to keep his wish of becoming human once again by the end of his battles?
Shaft continues to adapt the best Monogatari story extremely well. I’m giving it a perfect ten out of ten, but it does have a problem: the way it was presented. Kizu should never have been split into three parts. It just doesn’t work, for reasons I’ll discuss below. But that’s Aniplex’s problem, not Kizu’s. So I don’t count that against this movie.
The animation continues to be amazing. There’s no single moment as glorious as the “Araragi on fire” scene from the first movie, but a great many scenes look very neat. Additionally, the voice acting and soundtrack continue to be on-point – which is no surprise. These VAs have proven themselves countless times over the course of this series. I shouldn’t even have to tell you this.
The direction is noticeably good, especially in the comedy department. The comedic timing, the visual metaphors, the sound effects, and so on enhance the humor of each scene. Additionally, the fights are very well-choreographed. It’s easy to tell where each character is at any given time (unless you’re not supposed to), and the developments in each fight are believable.
The story here is geared heavily toward developing Araragi as a character and showing how special he and Kissshot are compared to other vampires. The “intensity as a human” theme in particular receives very heavy focus, with the story developments constantly encouraging the viewer to evaluate Araragi’s “intensity as a human,” in both a literal and figurative sense. Dramaturgy, Episode, and Guillotinecutter exist mainly as devices to illustrate how strong the iron-blooded, hot-blooded, and cold-blooded vampire really is – this is made clear immediately with the reasoning under which the Dramaturgy fight ends. As Araragi grows more accustomed to using his vampire powers, we learn more and more how strong Kissshot was, which leads us to think about how she got into her current predicament and what values she holds. Of course, the main focus of the character development is on Araragi and Hanekawa, and they get it in spades. I really shouldn’t even have to talk about this.
Additionally, Kissshot gains the body of a teenager in this movie, so Shaft is now allowed to sexualize her. We get a nude shot, we get some thigh shots, and we even get some butt shots. Strangely, though, this is actually overshadowed by the Araragi fan service. The guy’s a hunk! No wonder Hanekawa got so flustered when he took off his shirt.
Nekketsu gives us the action scenes that were promised in the first movie and provides nice set-up for the third movie, where the careful character development we’ve seen in our vampires will reach its climax. However, this begs the question: why did this have to be split into three movies? Other people have said this before, but Kizu is a very textbook three-act story. And a movie needs to have more than one act in it to be interesting – with only one act per movie, the tone is more or less the same throughout each one, until the next movie comes out and it changes. The Kizu movies are more suited to the binge-watcher than the theatergoer: it’s much better to see all three in one sitting, with maybe short intermissions between each act.
In short, here’s what I’m saying: watch this movie, but not yet. Wait until Reiketsu is in theaters near you. Watch Tekketsu, then watch this, and then go to the theater and watch Reiketsu. It’s best to have the entire story fresh in your mind as you watch each one. And if Reiketsu doesn’t come to theaters near you… well, at least watch this one right after Tekketsu, since it’ll probably be hard to wait for the Reiketsu BDs.
But enough about the price. Let’s talk about whether Kizumonogatari actually lived up to its promise this time with its second installment. In case you’ve forgotten, the first part of this serial movie release had Shinobu get turned into a little girl for reasons that I can’t be assed to explain the biology of, and Araragi must use his newly acquired vampire powers to defeat a group of supernatural individuals “shonen tournament”-style in order to get the body parts our Heart-Angel-Blade needs to swallow in order to go from “you masturbate to her and you’ll get arrested” to “you masturbate to her and you’ll get humiliated”. Thanks to his newly acquired vampire body, Araragi is basically a non-shining version of a Twilight vampire with his toned body and fighting skills, along with the usual regenerative powers, so of course the movie will exploit the shit out of it with over-the-top fight scenes, Araragi bleeding like a geyser in order to showcase how dangerous his opponents are, and making fangirls squee harder than when Sora in Kingdom Hearts II sung “Under the Sea”. This is what all those years of production were for, fanboys. Pure fanservice that I seem to recall Madhouse accomplishing with a far less time-consuming schedule back when attaching their name to an anime actually meant something.
Hanekawa also shows up for no reason other than fanservice. No seriously, that’s it. Her cat powers don’t seem to exist as of yet and she contributes nothing to the plot but overlong “comedic” banter without the humor and giving Araragi a motive to fight harder, because apparently his loli-fetish for a vampire who doesn’t wear underwear is not the best choice for drawing out his true inner strength. She also has this weird habit of just teleporting to where Araragi is at the most plot-convenient moment, just in time to get her guts ripped out or to discover that the only teenage boy that seems to exist in this world is going to be young and hot forever. And because nobody seems to exist in the Monogatari universe but the main characters, it’s really distracting how much this movie doesn’t bother to clarify why she’d be wandering around these battle arenas in the first place, especially given how these fight scenes always take place in the middle of the night. Is her favorite grocery store in the area? Is her internal clock set in Western Hemisphere time? What?
I’m having a really hard time describing the plot to this thing because it’s not really up to much. There’s not really more to the movie than Araragi fighting vampires (and a vampire hunter), getting closer to Hanekawa, and that cliched “you risk becoming a monster with these powers” narrative with no original ideas whatsoever. Exactly how am I supposed to write a few paragraphs about your story when that’s all you’re giving me? Describe the fight scenes? I guess I could say that I liked how Araragi won some of them due to tactical planning rather than Dragonball Z-logic, although the overblown emotional nature of the second and third fights was pretty silly, and the comedic nature in the beginning of the first fight was fucking dumb. And because the camera is constantly swinging, it’s hard to appreciate any existing choreography that might have snuck in amidst all the power level clashes, although to be fair, I recall the camera being more calm during those scenes than the talking ones.
As for the animation style, what do you want me to say? Nothing has changed from the last Kizumonogatari or any of the other ten Monogatari iterations aside from a little more blood and a little less fire. Nekketsu-hen does increase the amount of humor, so of course that means an increase in the amount of annoying sound effects and stupid reaction faces that would only be funny to twelve year olds who think it’s appropriate to make fun of a woman’s vagina whilst calling attention to the fact that you’re making fun of it as a free pass. Every time Hanekawa banters with Araragi regarding his perverted tendencies and the amazing appeal of the panty she may or may not be wearing, I wanted to reach into the screen and beat both of them up with each other’s faces for wasting about half the movie’s runtime on something that in any sane universe would be considered “filler”, but in the Nisio Isin universe is considered “solid gold”.
Please explain to me the appeal of two characters purposefully making bad jokes and calling attention to the fact that said jokes are bad for long stretches of something that’s only an hour long. If I was watching Danganronpa, said jokes would be accompanied by someone getting murdered or going through a villainous breakdown in order to keep the energy going. Monogatari though seems to have that stupid mindset that characterization for its own sake is engaging, and self-aware humor where you just do something stupid and point out that said thing is stupid was funny when Mike Myers did it. And that’s what’s always annoyed me about this series’ usage of irony: it doesn’t go far enough or attach that irony to something with momentum. Every time characters converse, the plot basically grinds to a halt in order for the actors to banter with each other like a deleted scene that somehow made it into the final cut. Also, someone please tell me the appeal of sexual harassment as humor. What the fuck is the punchline of those sorts of jokes anyways?
Finally, there are the new characters, who I honestly don’t remember a thing about because they have no characterization other than being antagonistic and not above playing dirty to get what they want. Honestly, I can’t even remember what they look like or what their names are. They don’t have any good chemistry with Araragi, making them very pointless villains that makes Doc Ock’s relationship with Spiderman look like something from DC comics, and they’re never mentioned again after they’re defeated, so Araragi might as well have been fighting moving gargoyle statues. It occurs to me that if you had cut out Hanekawa’s very existence from this movie and given all that screen time to Araragi and his vampire opponents bantering it up instead, at least it would have given the action more meaning, even if risks falling into that other DBZ trademark of drawn-out anime action by doing so. But then again, Nisio Isin just doesn’t seem to like the concept of male-on-male conversations. Why else would Oshino leave the story right the first series?
All in all, Nekketsu-hen just gets a big meh from me. I don’t care for the animation because it’s the same Shaft-style it’s always been except of higher technical quality, but lacking in strong visual metaphors deserving of said quality, and full of so many quick cuts, annoying reaction faces, and title cards that I’m surprised I came out of the theater without a seizure. The story actually goes somewhere in this part so it’s not as torturously boring as last time, but anyone who thinks that Araragi sacrificing his humanity to protect those he loves is an engaging tale obviously does not watch monster movies. Not to mention, since this is a prequel, we know he and everyone else are going to make it out okay, so there’s no real tension to anything that happens to the established cast unless you were curious regarding whether Hanekawa actually got through the whole ordeal with her virginity intact.
At the end of the day, I just don’t understand why this prequel needed to exist. All it does is show us stuff that we already knew happened, except being shown to us visually. And there’s nothing being conveyed to us through these visuals that’s new and refreshing unless you count another stupid usage of the music from 2001: A Space Odyssey new and refreshing. It’s basically what’s inevitably going to happen with that new Star Wars movie focused on the spies who stole the Death Star plans, and if there’s anything worse than getting compared to the prequel trilogy, it’s getting compared to Disney’s brand of mediocre nostalgia cash-ins.
Kizumonogatari really goes out of its way to look and feel different, doing so in a fashion so gratuitous yet overwhelmingly desirable that I can’t help but want more. Starting with the setting itself, Nekketsu follows up on Part 1 with its continued use of a 3D rendered setting. Normally you might expect the combination of 2D and 3D to not work out well, with either the characters or the environment feeling out of totally out of place. In this however, it’s an awe-inspiring mixture of extravagant animation and the skillful mimicking of live-action cinematography. Kizumonogatari makes use of this combination in ways that you wouldn’t expect to actually look good, utilizing tilts and pans which you might assume would make the 2D character models appear even more flat, and instead creates shots that are much more compelling and intense.
The attention to detail in the 3D setting is most likely the greatest contributor to actually making the computer generated images “work” (although the quick and precise camera work has a large part to play as well). Specifically, the lighting, shadowing, and reflections all have a major role to play in making the world of the film look ideal, and in a lot of ways, real. Light and shadow are critical in creating believably 3-Dimensional objects, but to create a truly realistic setting you mustn’t neglect the many reflective surfaces of everyday life. Kizumonogatari doesn’t disappoint when it comes to the details, and it exhibits a complete and utter mastery that surpasses any and all reasonable expectations. All that, paired with grandiose architecture and scenery that the monogatari series is known for, this film manages jaw-dropping scenes of an impressive variety ranging from the fabulously intense to the astonishingly serene.
Moving on to a focus on the characters, as well as a focus on the camera’s focus of the characters, it’s utterly delightful how much expression is delivered through the close-ups of this film. Though predominantly Araragi and Hanekawa, almost all of the characters make complete use of their close-up time in conveying emotions. Their facial expressions exemplify so much of what they’re feeling at any given moment; it’s remarkable just how excruciatingly painful things look when just given the facial expressions of Araragi, or how imposingly malevolent Episode seems to be in the heat of battle. And outside of the fights, feelings of reluctant embarrassment and cheeky skepticism come off just as strong.
Another signature of the monogatari series, the editing of this film is just as sharp, agile, and wildly hilarious as you’d expect it to be. On a personal note, one of the things I love most about the series is how it’s able to inject comedy into any situation, going much farther than you’d think is possible without overstepping the boundary of where it becomes hokey and depreciative. Kizumonogatari amplifies this even further, making some gags hit especially hard with jump cuts and non-diegetic imagery. The whimsical and avant-garde nature of the film makes it so much more than just a viewing experience. It’s as if the movie itself is playing with its audience and going the extra mile to make sure we’re all having a fun time.
But as wonderful as it was, this film was not perfect. I mean, I’ll give it a 10 anyway because I’m a biased SHAFT fanboy and numbers are pretty meaningless to me anyway, but I do have a few gripes that somewhat relate to the consistencies between the novel and the movie. I normally don’t like comparing a movie to the books they’re based off of, because adaptations are not inherently meant to precisely embody its source material, and making judgements based on how it didn’t live up to the base that exists in a different storytelling medium is usually pretty unjust. That all being said, I thought the villains in the film lacked a lot of dialogue and consequentially a lot of character. In the book, they’re given plenty of lines, and Episode’s even given a catch phrase. However, in the film’s interpretation, they’re just obstacles to be overcome. Having villains with depth is obviously preferable in most instances, at least for me, because that essentially raises the stakes. Understanding motivations for the hero is one thing, but being able to see the point of view of the antagonist, and being able to relate to them on some level, can be much more thought-provoking.
Other than the villains not being compelling characters however, I’d say this film was an absolutely marvelous experience. Kizumonogatari: Nekketsu knows how to experiment and perfect almost every single aspect of itself, presenting its unique mastery of visual design, cunning cinematography, and brilliantly whimsical editing, to far exceed our necessary requirements of captivation. And I haven’t even addressed the musical score, which is full of fantastic jazz renditions that really add to the whole “film noir” motif that the movie also has going for it. While it does suck that film was arbitrarily cut into three parts, it’s still incredibly satisfying to witness an hour of this extraordinary piece of art.
1: Kizumonogatari III: Reiketsu-hen
MAL Score: 8.81
After helping revive the legendary vampire Kiss-shot Acerola-orion Heart-under-blade, Koyomi Araragi has become a vampire himself and her servant. Kiss-shot is certain she can turn him back into a human, but only once regaining her full power.
Araragi has hunted down the three vampire hunters that defeated Kiss-shot and retrieved her limbs to return her to full strength. However, now that Araragi has almost accomplished what he’s been fighting for this whole time, he has to consider if this is what he really wants. Once he revives this powerful immortal vampire, there is no telling what she might do, and there would be no way of stopping her.
But there is more to the story that Araragi doesn’t understand. If a newborn vampire like him could defeat the hunters, how did they overpower Kiss-shot? Can he trust her to turn him back to a human? And how is that even possible in the first place?
Araragi is at his limit but he must come to a decision, and it may not be possible to resolve this situation without doing something he’ll regret…
As perfect as they were, I almost regret giving the other two movies tens, for now I have no numerical way of showing that this one is far superior to even them. Spoilers for those movies, obviously.
Anyone who’s seen the main Monogatari series can tell you that the difference between pre-Kizu Araragi and post-Kizu Araragi is like night and day. The question, though, is this: what happened in Kizu to change him so dramatically? There were two catalysts: Hanekawa and Kissshot. In Nekketsu, we saw him learn the joy of true friendship when Hanekawa obstinately stuck by him where any sane human wouldn’t have. In Reiketsu, we see the effect Kissshot had on him. This relied on buildup from the previous two movies – through them, the viewer and Araragi had to come to like Kissshot. But this is a review for Reiketsu, so I’ll quickly move on to why that’s important here and now. You know how Kizu has been devoid of the signature Araragi narration that pervades the main series? It comes back after a certain scene in this movie. My belief is that it’s intended as a delineator between pre- and post-Kizu Araragi. “This scene is where the transition was complete.” I don’t want to go into further detail because I don’t want to force my interpretation on you, but the takeaway from this paragraph is this: Araragi’s character arc in Kizu is very cleverly done, making use of both female leads, who themselves have character arcs.
Readers of the book know that there’s a very long talk scene in this movie (after the one I was just alluding to), meaning that Shaft has to pull out all their Monogatari tricks to keep the viewer’s eyes open. And they do it well. The tone shifts at a moment’s notice, with the OST and the animation style as its indicators, keeping it from becoming monotonous. The comedic timing was brilliant, enhancing jokes to be even more funny. The symbolism is cheesy and heavy-handed – to comedic effect. It was clear that Shaft knew they were being ridiculous with the symbolism in this scene.
This has nothing to do with Shaft, but the juxtaposition of the two talk scenes (both of which I talked about, believe it or not) really is brilliant. It’s like a modified Hero’s Journey template that has two Audience with the Father sections. It raises the stakes for the Ultimate Boon section.
Speaking of which, let’s talk about that, shall we? The fight scene in this movie was a lot longer and more action-packed than I remember it being in the novel. Frankly, it was amazing. Several parts of it were somehow silly and badass at the same time. The best part, though, was that we knew our characters. They were both unique, well-developed, and interesting. Think about – REALLY think about the climactic showdowns you’ve seen and name one that fits all three of those criteria. Ain’t easy, is it?
But as any reader of the novel knows, the real climax of this story is the very, very end. Remember that legendary narration from the last few paragraphs of the novel? They kept it. Every last word. A huge number of factors make it so that the end of the fight scene isn’t also the end of the movie’s tension. Your socks will be blown off.
After writing so much about this movie, it made me realize why I consider it so much better than the first two, though they were perfect too: out of the three Kizu installments, this is the one that feels most like a standalone movie. Its tone shifts multiple times, its pacing is extremely varied, and it feels like it has a proper climax. What was Tekketsu’s climax? “Pleasure doin’ business with you.” It was hard to say that that movie was anything more than set-up (albeit very good set-up) for the next two. What was Nekketsu’s climax? “I’m not a human anymore.” The story was quite obviously nowhere near any satisfying endpoint, and we had two character arcs very openly unresolved. It was, again, hard to argue that it had merit as a standalone movie. These problems were borne of Aniplex’s decision to cut Kizu into three, which is why they didn’t affect my scores for the movies themselves, but it’s worth noting why Reiketsu is so much better than Tekketsu and Nekketsu.
Now that I’ve talked at you for five friggin’ hours, I’d like to end my review with this. Out of all the anime movies I’ve seen here in Japan so far (Kimi no Na wa, KnK, Nekketsu, Planetarian, Kagerou Daze, AC…), this is the only one where I’ve walked out of the theater and thought to myself, “I want to see this again, right now.”
Oh, and there’s no post-credits scene. Sorry! No “Owari S2 soon” or “Musubi in stores now” or anything.
Kizumonogatari takes a cinematic approach on the well-established TV series the Monogatari series. This is truly a prequel that can only be appreciated when watching all of the series up towards Owarimonogatari. If you want Kizumonogatari in the chronological order you are watching anime wrong and the entire intention of the series is ruined. The foreshadowing is lost and you lose the bigger picture SHAFT tried to create for Nisio’s work.
But before going through Kizu 1 and 2 we are here on this page for Kizu 3. Kizu 3 was truly a wounded story. A story that doesn’t end happy nor does it end conclusive. It’s a prequel to the giant franchise therefore whatever happens at the end is only just the beginning. The story begins right where we left off. Arararararagi has collected the arms for Kiss Shot and is now going to see her full form. After some talks with Meme, we finally see her beautiful, bodacious, succulent body in all of her motherly, milf, glory. Truly a work of art. Fastword and we get to see the conflict arise. Ararararararararagi begins to realize that Kiss Shot in her full form is a danger to the human race. Internal conflict starts to brew within our young naive main character. Most of the middle part of the movie is focused on Hanekawa and Ararararararararararagi getting prepared to fight Kiss Shot. Of course, this wouldn’t be the Gatari series without fanservice. And with some big ole’ titties, it’s obvious that Hanekawa will motivate him with her body. So to summarize, the first half is Kiss Shot and Arararagi, Second half is Hanekawa. Now the final part is strictly a fight between the two. This fight goes on for a while but you never truly get bored. There are 10 different art styles and animation styles in this 1 fight that you never get bored. As I stated early, you will have so much fun with this. To be exact, this might be the best fight scene in all of the anime. Scratch that, might is underselling it. It is the best fight scene. Bless you, father Oishi, the series director of Bake and storyboard for Kizu. And we end with a great moment. But it’s not a happy one. Everyone is equally miserable. But that’s what true happiness is. Wait for that like communism. I digress. Ararararagi ends up not killing Kiss Shot and having her live her life feeding of him to live. Arararagi doesn’t turn back into a human. And they will spend their lives worried about someone hunting them.
So where do the first 2 movies play in this? The first movie serves as a way to introduce us back into the world. However, in a new world, Oishi constructed. The world where things are more avant grade. The world where internal monolog isn’t needed. Exposition is replaced with visual storytelling. The second movie serves as the meat of the story. Showing us the best fights and the most interesting plot points. This movie serves as the concluding narrative to branch into the sequels. Sincerely, this is the best installment in the Gatari series. But to understand the lore more one must have watched everything that aired. I have to say, this is one of the best movies I have watched in my life. Thank you, Shaft, thank you, Oishi. God bless Japan.
BUT WAIT THERES MORE. The ecchi scenes are amazing in this movie and so is the fight scenes. Hanekawa and Kiss Shot titties are a 10/10 alone.
Kizumonogatari is back and at last we get the last piece of the puzzle, This time part three otherwise known as “Reiketsu-hen” or “Cold Blood”. The final chapters animated, just how well did it do?.
Story 10 / 10
We start the film at a brief conversation between the characters of Oshino Meme and Araragi Koyomi talking how it is unreal how Koyomi managed to overwhelm the hunters that were after his life and his master, Kiss-Shot Acerola-Orion Heart-Under-Blade.
The film progresses as we see a rampant return of the eloquence of visuals, symbolism and long chats that have left a mark on anime by the now known “The Monogatari Series”. Reiketsu unites the presence of Monogatari by displaying thought and process of our main character Araragi Koyomi and the familiar Monologues as we se how Araragi opens up his conscious and spills it right before all of us all and notice how he has changed. Reiketsu shows us how is it that Araragi came to be as characters and show the transition to us all by splitting up the process.
As on Tekketsu, Kizumonogatari is Visceral as it appealed to human instinct of its rawness but also included a conversation oriented presentation that carried the first act.
Nekketsu focused more on youth, The youth of our characters reminding us just how over their heads the main protagonist are, being Hanekawa Tsubasa and Araragi Koyomi. It imposed the rampant sexuality and the ego of our characters and it brought forth action to the table that greatly differs from the first act, Tekketsu.
Reiketsu in the other hand combined all of that, and brought us the current formula of Monogatari as the last piece of the puzzle is unlocked and we get those ever so necessary inner monologues showing us the how! of how can someone who lives on being spontaneous and show us the results that it carry. It also shows us the result of forbidden knowledge, as the more you know, the less safer the world becomes.
Reiketsu at large, It can be called the very beginning of the franchise of The Monogatari formula, it can also be the start of series itself but buried in all that, Reiketsu was the conclusion and acceptance to the end of ordinary lives that will from now on live knowing of the supernatural.
Art 10 / 10
Shaft really outdid themselves with this final arc, and brought us more fluidity we ever dreamt off to the screen surpassing the preceding films in the direction of visuals and their rawness, the combination of 3D CGI with 2D artistry of the highest caliber showcased on a eccentric but fully working presentation that the trilogy is. as well as honoring the culture of animation now that it has become a well define characteristic of the new culture of japan, that marvelously attracts new blood to japan enticed for the ever newer pile of contribution to society with impact on international scale.
Sound 10 / 10
The sound direction was astounding, as it was the voice actors on their A game. followed by well composed OSTs and keeping the old school horror feel you’d normally feel from Alfred Hitchcock, as many reference and use of direction clearly referenced the style and with new twist to the presentation of the film.
Character 10 / 10
Our characters, Oshino Meme, Araragi Koyomi, Kiss-Shot Acerola-Orion Heart-Under-Blade and Finally Tsubasa Hanekawa were connected on highly unusual ways that your standard presentation, As their interaction feels timelined of progress aided by well directed visuals and ever accurate sound directions.
Our characters are weaved on the thread of ignorance, youth and experience. weaving them differently but ultimately presenting us in split acts the coming together of a series and the buiding blocks of a character we’ve enjoyed for years on the Monogatari franchise.
I’ve waited for this for a long time, due to work I sadly missed this film while on theaters because of work. Know this though, any anger I held and all regret that plagued me as I patiently waited for clearly was worth every second now that I’ve witnessed the final film.
If you’re a monogatari fan, I highly recommend it and if you’re not give it a shot, For it is very possible you’d be one of us and enjoy of the international harmony and fandom that surrounds The Monogatari Series
However as much as I loved the movies, If I was director I would have added and removed a couple of things. In comparison I liked the structure of Tekketsu. The Alfred Hitchcock direction references and the music with cold moments with well executed music.
For example, instead of the dancing monks when Araragi returns from the convinience store to Kiss-Shot, I would reuse the animation just prior, where Kiss Shot in all her forms are running about in the garden of flowers, I would reuse that but change the background into a landscape of corpses and/or entrails. Adding some blood to the faces of the multiple kiss shots creating a better visual of Araragi Koyomi world view, the alternative would be to use the style of Onimonogatari painting like style but of old Europe showing vampires with human skulls since it’s a European folklore, Given the use of French I’m guessing Kiss-Shot is probably of French relativity . If used the first scenario with the landscapes I would put a stare similar to hanekawa just like how she looked right after passing out in front of ararsgi after being ripped open by episode’s cross and place it in the multiple kiss-shots.
I would add the same effect to Guillotine Cutter severed head, and remove the CGI because that’s the only section where it doesn’t really play well the CGI environment and 2D people is awesome but making Guillotine Cutter that way really steals from the punch araragi is supposed to feel.
I would have also added on the beginning a little flashback in black on white, same style as tekketsu, when Oshino Meme first came In contact with Kiss Shot the legendary vampire and her power as a little background when Meme tells araragi when he took Kiss-Shots heart.
Maybe that’s just me, Absolute masterpiece of a trilogy nevertheless.
Overall Grade: 10
Did YOUR favorite anime make the cut? Let us know in the comments below!
1. Kizumonogatari III: Reiketsu-hen
2. Kizumonogatari II: Nekketsu-hen
3. Zoku Owarimonogatari
4. Kizumonogatari I: Tekketsu-hen
5. Vampire Hunter D (2000)
6. JoJo no Kimyou na Bouken: Phantom Blood
7. Servamp Movie: Alice in the Garden
8. Blood-C: The Last Dark
9. Vampire Hunter D
10. Blood: The Last Vampire