They are by far the best anime! We counts down the best anime to come out all the time, including the likes of Ai City, Blue Gender: The Warrior, Silent M?bius 2, and more!
16: Ai City
English: Love City
Japanese: アイ シティ
MAL Score: 5.72
It’s sometime in the future and the story starts off with Kei and Ai running for their lives. Ai is a little girl who holds a terrible secret which could destroy the current world. The world is now populated by Headmeters, people who have psychic powers and their strength is shown on their forehead when they fight. However, Kei was an experimental subject and his strength never went above level 5 while other surpasses his ability effortlessly. While escaping, when in desperate moments, Kei could increase his ability to infinity when Ai is in trouble.
The one who’s after her have a deep secret, aided by a small dwarflike man living in a robotic suit. Eventually Ai is captured and Kei, a sherlock holmes detective and another Headmeter who was converted to the good side when Kei unleashed his horrible powers through Ai must go and rescue her.
Together they must save Ai and the secret which she holds. What is the secret of Ai? Who is she?
The thing about Ai City despite it’s clichéd synopsis and corny title is it does have more inside than meets the eye, especially it’s visuals, the animation is pretty good and provided some very interesting scenes and allied to the esper/psychic nature atmosphere of the anime, it had some very good scenes in it.
It tried to include a wide concept into one hour and half, due to that, some stuff was compressed and left outside of the anime, some other stuff was left unexplained [spoiler] I’m still am trying to figure out what happened there. [/spoiler]. But due to it’s crazy aspect about espers and psychics, I think that the random crazyness of some scenes can be left aside, and better than that, can be widely enjoyed.
A pretty decent 80s anime movie that will please your hunger for the sci-fi genre of it’s time.
From scene one it’s hard to tell who the main character is, there is a protagonist but the screen time is divided between his sidekicks and the bad guys as well so there are lots of characters which gets needlessly confusing. To make it worse most of them aren’t really interesting or important.
At the 1st half the story is shallow yet fun, the bad guys want to kidnap the hero’s girl and the good guys try to protect her. her memory was long erased and the movie starts with her believing the hero, her ex lover, is her father and he plays along with it. this was an interesting story line which disappointingly didn’t reach a climax to wrap it up.
The last act of the story is incredibly scattered and lacks of reason, just one big wtf full of deus ex machina and there are maybe 4 “final boss” fights. It gets to a point, several times indeed, that is laughably weird and effortlessly explained.
The over all production was actually fine, I love the art and coloring of characters and locations, character design of both good and bad guys were nice, the animation is good and also the music had a nice trashy 80s feel to it to fit the cyberpunk mood.
Imagine an anime whose script didn’t have any sense of pacing, without explaining or exposing anything to you jumps right to an action scene which you can get engaged or excited because you’re still wondering what the hell it’s going on. That’s your first scene. Yeah, didn’t sound very promising, but don’t worry, the rest is worse.
But the premise, if it wasn’t for the weird story telling, if there’s some story to tell here, is actually pretty conventional. There’s an evil scientiffic organization that creates superpowered humans, the most powerful one, who’s a little girl, escapes, and the organization want her back. Yeah, pretty cliché.
Flash-backs are used pretty commonly on anime, and sometimes can be really helpful to understand characters’ motivations, make them more synpathetic and give us clues about the plot resolution. But here? Flash-backs suddenly interrupt, and many of them, until they end, you won’t know they were flash-backs, making it even more confusing that it already was.
But the worst part is the climax, when, suddenly, cheap and misinterpreted phylosophy starts to get throw to viewers eyes and minds, showing that the screenwritters didn’t have any idea about what really those phylosophy tesis where, which is pretty funny because it’s actually really basic. Many animes has attempted to talk about the darkness in human nature, but dear God, this it was the most cheap, clumsy, hammy and poorly-written example.
Evan in the more shallow aspects the movie can’t redeem itself. Animation and soundtrack are pretty dated, and even the cheesy nostalgia factor can save the music. Ai City is a pretty obscure title, and it’s perfectly understable why. The few people who had seen it rather erase the memories they’ve watched it, and i’m one of them.
15: Blue Gender: The Warrior
English: Blue Gender: The Warrior
Japanese: BLUE GENDER THE WARRIOR
MAL Score: 6.23
It is a time of chaos. Earth is no longer what it used to be. It has been infested with a bug like species called the Blue. 20 years ago Yuji Kaido, who has a mysterious disease, is put into suspended animation until a cure is found. When he wakes up Yuji learns that it’s been more than 20 years since he was put into suspended animation, and the world is now controlled by these creatures. He then decides to join a group of soldiers fighting against the Blue for hope of a better future.
Anyways, The Warrior isn�t all bad. Some scenes that were thrown in were actually quite interesting, such as the brawl between Marlene and Yuji. Also that when Yuji wakes up after 22 years of sleep his hair is actually long and has to be cut. Good job there. But so many other things are missing that it�s hard to fully appreciate the story for what it�s worth. The character development and ultimate destiny between Yuji and Marlene generally stay the same, but because this movie sums everything up in just a little over a hour and a half it feels very weak and synthetic. To make matters worse, a lot of the most necessary plot arcs are nowhere to be seen in the movie. The introduction of the Sleeper Brigade and their eventual fall from grace, and the scientist who decides to take over Second Earth by overthrowing its government are two of the most important plot devices that never come into play in The Warrior. Simply put, The Warrior doesn�t feel as alive as its series counterpart does. It just doesn�t do a very good job at summing up the entire series (if that was even what it was trying to do, as it�s hard to tell with all of the reused animation from the series), and quite frankly if you watched this after watching the series (like me) you would probably be pretty turned off (like me). It�s not entirely bad on its own, but fails at being anything more than just average. A few things are improved here and there, but not nearly enough for me to suggest you watch this instead or before the series. If you�re a die hard Blue Gender fan then I guess you can appreciate this more, but if you�ve never touched the series before then I�d recommend you just stick to the episodes and stay away from this flick.
My Score: 6.5
Version Watched: English Dub
Yuji Kaido was diagnosed with a serious disease and since there was no cure for the unknown illness, he was cryogenically frozen. Twenty years later, he wakes up to see the Earth like it has never been before—the humanity is almost eradicated, because of the alien bugs called the Blue. However, the humanity still lives, a few selected humans have retreated to the space station called Second Earth. Yuji is taken back to the Second Earth, where he finds out that there are people that have been also cryogenically frozen and now they will be used as a force to combat the Blue.
The story might sound generic at first and I would agree with that thinking, however, once you dive into the world that Blue Gender depicts, you will actually like it. Indeed, this is something only a mature audience will understand, since the series is extremely dark, violent, and contains sex scenes. However, everything shown in this series serves it purpose. What I am trying to say is that nothing is overused, the story-line has enough unique elements, as well as the fact that overall it makes pretty good sense.
Animation wise, even though the series aired long time ago, the animation is pretty good. From character designs to great action scenes, Blue Gender offers quite good animation, since it is able to set the atmosphere well, being dark when needed.
Sound wise, no voices feel out of place. The English actors show quite a bit of flexibility as they rocket through the almost non-stop action pace presented by the series. So feel free to watch it either subbed, or English dubbed, both versions are equally good. In addition to this, Blue Gender had quite an OST to boast about. Do not skip the OPENING, it is amazing.
The real strength of Blue Gender is the story. Part Aliens, part Starship Troopers, Blue Gender borrows from strong sci-fi thrillers and takes it in a different direction. The story telling is well paced, the cast might look a bit simple and cliché at first, however, the protagonists undergo some amazing development that you need to see. There are so many things that you simply have no time to even breathe and rethink what is happening.
All in all, 10/10. This series is a must see for old school sci-fi fans. Blue Gender even today is one of the most well-written and dark sci-fi stories. Being extremely dark, Blue Gender is the story only a true connoisseur will appreciate.
One of the biggest issues I had with it was the lack of development between the two main characters, not going to throw in any spoilers but with the level of development and the lever of dedication I guess you can say in the end is lacking. They also changed the ending of the series in the movie which I prefered over the movie much more.
In summary watch the series 🙂
14: Silent M bius 2
MAL Score: 6.26
This sequel to the Silent Mobius The Movie 1 continues the timeline of the flashback section of the first movie (Katsumis initial contact with AMP), using some more ideas and persons from the Manga, and being slightly less incompatible to the Silent Mobius series from 1998.
13: Silent M bius: The Motion Picture
Japanese: サイレントメビウス／THE MOTION PICTURE
MAL Score: 6.28
In a futuristic Tokyo, several policewomen fight a monster. One of them, Katsumi Liqueur, remembers where she saw it before… Katsumi Liqueur, an American-born woman of Japanese descent, travels to Tokyo to visit her mother, Fuyuka, who is sick in the hospital. She takes a shortcut through an alley after her taxi gets stuck in traffic, only to encounter a monster and two policewomen fighting it. Later, she meets their chief, Rally Cheyenne, who, it seems, has been expecting her, though Katsumi has never met her before. The policewomen want Katsumi to help them fight the monster, but Katsumi, who does not want to believe in magic, resists.
12: Gall Force 1: Eternal Story
English: Gall Force 1: Eternal Story
MAL Score: 6.45
Two advanced civilizations, the Paranoids (a race of alien humanoids) and the Solenoids (who are all women) are waging a war that has gone on for centuries. When the Solenoid fleet leaves a battle to defend an experimentally terraformed world from the Paranoids, one damaged Solenoid ship, the Star Leaf, is separated from the fleet.
Only seven women remain alive on the ship: Eluza, the captain, Rabby, the solid more or less main character, Lufy, the brash pilot, Catty, the mysterious science officer, Pony, the pink-haired ditzy tech, Patty, a solid crew member, and Remy, the cute one.
After narrowly escaping the battle, the crew of the Star Leaf decides to continue with their orders and rendezvous at planet Chaos to defend it. It turns out, however, that their ship is the subject of a Paranoid experiment. In the end, it is up to the remaining crew Star Leaf to defend the artificial paradise of Chaos from the Paranoid fleet and the plans of the Solenoid leaders.
One of the most popular and profitable franchises within the realm of the OVAs of the 80s was Gall Force, which for a lot of people is totally unknown due to its minor impact in the West. The origin of this multimedia franchise is in Star Front Gall Force, a 3D photonovela that appeared in the monthly Model Graphix magazine. Here were presented several of the characters that star in the film, which was produced and animated by the AIC and Artmic studios. Between the most prominent members of the staff are those responsible for Bubblegum Crisis (1987-1991) such as Katsuhito Akiyama or Kenichi Sonoda. Without reaching the splendor of the cyberpunk title, the quality of the animation is close to outstanding when the action erupts in the form of space battles.
Gall Force: Eternal Story (1986) is a war drama about the eternal conflict between two alien races. Despite the fact that this question has been addressed, to a greater or lesser extent, by several previous titles, among which Space Runaway Ideon (1980-1981) or Macross (1982-1983) stand out, what strikes me is the idea that both sides seek an agreement to avoid their mutual destruction. A peace agreement that would be carried out through the creation of a third alien race, which would be born thanks to the genetic combination of the two. From my point of view, this idea is sensational since among those destined to hate each other, the only one who can mediate between them is a third party who is both alien, but also aware of the conflict. An idea that reminds me of a later film like Wicked City (1987), although Kawajiri’s film has a more interesting thematic and symbolic construction. What it does not have, however, is a failure that will be repeated cyclically in the following films.
Although I applaud such a solution I believe that this issue together with the war drama does not reach its highest point due to a series of inconveniences. In the first place, the action sometimes overshadows this theme due to the excessive attention it receives with long and abundant sequences of chases, space battles, etc. Second, the film’s tone is inappropriate on multiple occasions, incapacitating the work to represent the seriousness of the conflict and explore the issues at stake. Comedy —generated above all by Rumy’s comic relief— and eroticism —partial nudity, here and there— end up subtracting more than adding. Not extremely serious, but it clearly affects your presentation. Third, the background to the war is somewhat poor, with very little about the reasons that drive both sides to fight to the death.
Finally, the war drama is less effective than it should because the subjects of this misfortune are of no interest to the audience. Despite the attractive designs, the characterization of the characters is mediocre. They hardly define his character and personality correctly, except for Lufy. Among the group members, this tough and reckless aunt is distinguished by her personal background which reveals how hurt she is over the death of her former companions. In addition to this background, her personality caused friction in the group that, in turn, generated a strong dynamic. Unfortunately, Lufy is the first to fall so we run out of interesting characters. Perhaps she does not catch anyone by surprise that from now on many feel indifference to the fate of the rest of the crew. Although the aforementioned inconveniences do not completely detract from this historical title, had it not been present, we would speak of a remarkable or even excellent work.
Gall Force (likely a language perversion of “Girl Force”), details the ending stage of a great war between two races. Without going as far as spoiling certain parts of the work, Gall Force seems to be a conceptual ancestor to the 21st century work Vandread–essentially pitting an all female race of beings against a (presumably) all male species of aliens.
The story has one of the more interesting Sci-Fi twists I’ve seen out of the 80s. To a certain degree, you can see it coming (if you’ve got a good Sci-Fi imagination that is). However, it adds an interesting dynamic regardless. The main focus of the story involves a team from the female race carrying out provisions of a secret project. Really straightforward and–let’s face it–dull to most people familiar with the genre. Gall Force’s strength is in its presentation. The space battles are rather well done, and the artwork on environment and characters is on par with just about any anime out of the period. And again, the plot twists near the end give it extra points in my book.
It does contain a few plot holes. However, ever since Terminator came out, plot holes in Sci-Fi are acceptable. So if you’re tempted to ask how an all-female species reproduces, or why if certain forces are in cahoots they don’t try to stop killing eachother… Just use your imagination or ignore it.
The music (a department I generally expect little of) was surprisingly good. Music matched the scene quite well in almost all instances. This makes certain sections of the movie that might otherwise be boring easier to sit through. I wish to note specially portions where character development is lacking. This is the largest failure of Gall Force. I found it impossible to have any sympathy with anyone but the main character (well, until the later movies at least). This would often be a very large turn-off for me, but in addition to being slightly more forgiving of Sci-Fi in this matter, the other aspects make-up for it.
The first Gall Force feature really serves best as the gateway to the other parts of the Gall Force metaseries. As a stand-alone though it makes for a decent selection for Sci-Fi movie night. The first movie really is a love it or hate it kind of deal. Non-SciFi fans will probably find it hard to get into. If you do like it, pursuing the rest of the Gall Force metaseries is highly recommended on my part. Availability of Gall Force is questionable, but a brief internet search should provide you with what you need if you are not the flea market type that picks-up VHS copies of anime.
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There isn’t a whole lot to say about Gall Force- Eternal Story. Its your standard old school space anime.
It had its high points: The ship designs, some of the fighting scenes and effects, ok music.
But there was also quite a bit of bad. There is almost no character development whatsoever. I found myself not really caring about any one character more than the others and so I wasn’t really even sure who the heroes were.
When the cast starts getting killed one by one and each time its pretty much the only character you were interested in at that time, its usually not a good thing.
There was also very little background given on WHO these people were, antagonists and protagonists alike. All in all, it was enjoyable enough for me to watch and finish. But I highly doubt I will ever watch it again.
11: Armitage III: Dual-Matrix
Japanese: アミテージ ザ サード DUAL-MATRIX
MAL Score: 6.85
A few years after they first met, Naomi Armitage and Ross Syllabus have started a family. Despite their normal lives, they must keep their identities a secret because many people believe that Robots do not deserve equal status with humans. Ross has an opportunity to abolish these ideas on Earth through a vote, but organizations in the shadows are working so that it doesn’t happen.
The story itself is a complete reversal of the original/Polymatrix. Now, Earth (or at least a part of it) wants the Third reproduction capabilities, when the original the Earth wanted all Thirds destroyed BECAUSE of those abilities. Add in the go-nowhere/excuse subplot of the Robot Rights bill simply to get Ross and Yoko on Earth, and you get a clunky, non-cohesive story. Not to mention Yoko’s eidetic memory.
The art, to be fair, is decent, but lacks the punch of the original as well. This version loses on the shading, favoring instead somewhat brighter colors. So decent, but not the best.
Going full cyber instead of cyberpunk, the music reflects the nature of the film; muted, letting the action and interaction speak for itself. The voices are well done, for the most part fitting the characters perfectly.
To be honest, the only reason this scores so high is because they didn’t completely lose the elements of Ross and Naomi from the first film; they managed to retain their fighting skills, even if there are some asspulls.
In the end, i didn’t enjoy this film; while okay or average, as a followup to the original it falls completely flat. This movie does not harmonize with the first at all, ignoring the tightly done story of the first and rewriting the world.
With a futuristic theme and a lot of sci-fi Armitage III Dual Matrix is a must for those who like science fiction and robots. You’ll get the classic Matrix style action, high tech battles and a very interesting environment.
Though a few details are left shrouded in mystery, a lot of character development does go on, making it a worth-while movie.
It does have the classic and often overused theme of a robot becoming very much like a human, but it’s not sappy about it in the least. While some search for the logic that explains an event proving that humanity, which is not the common "I have feelings too" claim but a different kind of event, others can’t help it but to be amazed by the mystery. To say anything else would spoil it, so just watch it for yourself and enjoy a great sci-fi movie.
The story in this movie focuses more on the heroine Naomi. It focuses on the 2 sides of her; One that she is a Third type fighting machine and the second is that she is a loving mother who will risk her life to save her child from any danger she faces. The relationship with Naomi and Yoki is very hearfelt and you can clearly see that she cares for her own daughter, even if Naomi is a robot. Ross is still good but he has little to do in this movie and he’s only useful in the last hours of the movie where he is protecting Yoki from a bunch of Thirds prototype robots that love to kill and for some reason, they can’t stop laughing. The villain in this movie was boring as shit here and he’s there to be an evil stereotype guy with no purpose whatsoever. Even the side-characters are as boring as ever in this movie and have barely to do in the story, minus that clown looking guy that helps Armitage (forgot the name).
The animation is improved in this movie for the better or worst. For the good about this animation is that it looks more slick and stylish than the first and the colors are greatly improved. For the bad part is that the animation company AIC had a low budget for this project and they used incredibly cheap CG animation that looks terrible and doesn’t even fit with the 2D art style but I can’t blame them. The English voice-acting is improved tremendously and Juliette Lewis performance as Naomi Armitage is badass, cool and most of all, heartwarming and she did a bang job at her role. Hank Wilspank’s performance as Ross is a greater improvement over Sutherland’s and while it isn’t perfect, at least he gives more energy to his role than what Sutherland did in the first movie.
While not as good as the original, Dual Matrix offers enough depth and charm that it hardly matters if the sequel is better or not. If you’re a fan of the OVAS or the movie, then I recommend this to you but don’t expect this to be the perfect sequel that makes the original look bad cause it’s not. It’s only a solid and fun movie.
10: Armitage III: Poly-Matrix
Japanese: アミテージ ザ サード POLY-MATRIX
MAL Score: 7.07
In the year 2046 humans are moving away from using robots and begin to trust them less and less. In this time life becomes very perilous for the beings known as seconds. The seconds are the most recent line of robots, as far as the public knows. This is the world Detective Ross Sylibus lives in. Detective Sylibus is transferred to Mars by his request after his partner was killed by a robot. As he arrives he falls headfirst into a murder where a country singer on his flight was murdered. He steps off the plane and watches as a scene unfolds and he meets his partner, Armitage a female cop with a major attitude. A rash of murders begins when yet more women are killed. As the investigation is continued a secret is uncovered. There is another line of robots known as Thirds. More and more Thirds turn up missing, as a serial killer who is intent on wiping out all the Thirds runs rampant. Armitage in her quest to put the murderer to justice reveals a secret. She herself is a Third.
(Source: ANN, edited)
Welcome to the year 2046. The Earth became overpopulated and therefore, mankind created a colonization in Mars with the help of first type” androids and built the city of Saint Lowell. Seventy years later, the city is inhabited by humans and “Second-type” androids, which are improvements over the first type and this new robots talk and react like real humans. On the space-port, a man named Ross Sylllibus arrives on Mars to meet his new partner, a young woman named Naomi Armitage, which for a partner she does know how to dress up nicely. However, all hell goes down when Armitage stops a man with a briefcase that she shot down and in the case, they find the body of a country singer named Kelly McCannon, which turns out that she’s a “third-type” robot, able to act like a human but in a more advanced realistic way. Now humanity loses faith on the robots and now hellbent on destroying every last one of them, Armitage and Ross must now stop the man that’s committing these murders and discover the secret of the “third-type” robots.
As you probably know by now, the story is the main selling-point of this movie and why people love it so much. It asks the question of why did mankind create robots when in reality they want them dead cause robots are becoming smarter than their creators. Did we wanted to create robots for our miserable enjoyment, to treat them like slaves, to make us feel better or to have them do our dirty work for them on the city? While it doesn’t go too deep, it still talks about the issues with man’s relation with machine and the fear that machines will become stronger creatures than man itself, kind like The Terminator. The 2 main characters are charming and to my surprise, they are well developed. Armitage is a woman who is different from the rest of us but doesn’t care about it cause she just wants man and machines to live together in the city and will do anything to protect her kind. Ross Syllibus is also a great character. He’s a cop who lost trust on robots since his beloved one was murdered by a robot but in the end, he learns that not all robots are programmed to be killers and has faith that both kinds can live in harmony. The side characters are just boring, minus one character that I won’t spoil here. They are useless and throughout this movie, they do nothing despite that there are riots in the city and no other cop does a damn thing about it.
The animation by AIC, the animation company that worked on Oh My Goddess and Inspector Gadget, looks phenomenal for a 1995 anime film. The cyberpunk look is impressive, giving it a Blade-Runner inspiration style, and the water color art is beautifully rendered in the background. The English voice acting is good but you have to get used to them in order to appreciate it. Elizabeth Barkley starts off strong as Armitage and she gives a top-notch performance out of her character. Kiefer Sutherland starts weak as Ross cause he sounds bored at times but in the second half of the series, he does improve a bit more than the beginning of the film. The music is fantastic and it gives you chills on your spine on how well the music is composed here.
Armitage III: Poly Matrix is a fantastic anime that should be watched by everyone. The story and themes are excellent, the 2 main characters are well-developed, the action is excellent, the animation is top-notch and the music is phenomenal. It’s a great addition to the cyberpunk genre and I do hope that someone remake this film to a new generation of cyberpunks fans… In a good way of course.
The artwork is hand drawn in painstaking detail, as CGI was in it’s infancy at the time, so the background artwork is very rich and complex. The main characters in the American dub were voiced by people who were A-list stars at the time, so you can expect great voice acting.
One last word of warning though: Like many cyber-punk movies of the time, nudity and ultra-violence is prevalent throughout the movie. Certain naughty bits appear on screen with no warning at all.
On the surface we have a standard cyberpunk cop story set on Mars, with Naomi Armitage meeting her new partner, Ross Syllabus. He’s a cyborg with a deep disdain for electronic lifeforms, and it turns out she is secretly the next big step in that direction.
And looking back this where it’s issues lie. An android capable of human conception? Is it even possible? OR necessary? Add some odd interpretations of feminism and it’s not the best write looking back. It was okay even though I never realized it was very flawed.
But it was a gateway title for me. One of the first I’d seen and it stuck in my memory because of that. I like the style, the soundtrack is good, and it was future spacey enough that I paid money for it when I had no way to get money.
So warts and all, it’s worth a watch. An icon from the time when a Pioneer label wasn’t a historical relic.
9: Tenchi Muyou! Manatsu no Eve
English: Tenchi the Movie 2: Daughter of Darkness
MAL Score: 7.13
Tenchi Masaki gets the surprise of his life when a teenage girl approaches him and calls him “Daddy.” Believing that the girl is mistaking him for someone else, Tenchi brings her home to figure out what is going on, which turns out to be a big mistake. When the girl introduces herself as Mayuka Masaki, Tenchi’s daughter, the Masaki household is thrown into yet another frenzy.
Thinking that Mayuka is just taking advantage of Tenchi, the girls refuse to believe that she is really his child. However, when DNA testing reveals that Tenchi is indeed her father, Washuu comes to the conclusion that Mayuka is his daughter from the future, the result of a recent time distortion. With this new revelation, everyone tries to welcome Mayuka into their lives with the sole exception being Ryouko Hakubi, who senses something sinister lurking beneath Mayuka’s charm.
This movie has litlle to do with the actual series, unless you count Tenchi Universe then it does. The movie has a somewhat sketchy story but the drama that follows afterwards is funny, but also very serious. The story features a woman that comes along claiming to be Tenchis daugher. When Washu realizes that this is actually true she investigates! Soon what follows are events that put Tenchi, Ryoko and all the other residents friendships at risk, just for the ultimate revenge!!
It has great comedy and a pretty solid story. If youre a Tenchi Muyo fan or youre just bored and have nothing better to do…CHECK IT OUT!!
Also a confused, controlled under-age MINOR sexually solicits her father figure. What the actual ****! I’m sure there were about a million other ways to go about achieving her masters goal than that.
Yeah the Tenchi Muyo series has always been on the sexy side and grouping a bunch of crazy weirdos together….but….
If I could give 0/10 I would. If I could have only unwatched it. I held out hope that it would have some redeeming feature. And maybe it does but watching a brain washed minor conduct incest was pretty unredeeming feature.
8: Tenchi Muyou! in Love 2: Haruka Naru Omoi
English: Tenchi Forever!
Japanese: 天地無用！ ｉｎ ＬＯＶＥ２ 遥かなる想い
MAL Score: 7.21
Tenchi runs off into the woods to spend some time alone after his friends have another argument. While lost in thought, he hears a voice coming from a camellia tree. Tenshi approaches it and vanishes through a portal.
Six months later, Tenchi still has not returned home. Though most have given up the idea of ever finding him, his friends refuse to lose hope and have split up into two teams. Aeka and Ryoukou remain on Earth to investigate while Washuu, Sasami, Kiyone, and Mihoshi comb the rest of the galaxy in search.
Their efforts eventually pay off when Tenchi’s energy is picked up on their radar. However, the happy reunion will have to wait as the girls gear up for their biggest challenge yet—Tenchi seems to have completely forgotten them and is living happily with another woman. Instead of solving their problems, finding Tenchi has left them with even more questions.
It ended up surpassing my expectations by some distance. I found it to be emotionally moving and involving – I couldn’t help but care about the characters. However, it isn’t something for Tenchi fans; it’s for fans of well written and executed films. It has a low MAL rating – on par with the Christmas special of a second film – and I understand why without even asking anyone: because it lacks the feel of the other Tenchi anime in existence. If what came before is classed as Tenchi for the younger generation, then this is most certainly Tenchi for adults.
To start with, the art differs from the art of the previous films, both of which looking like the OVA series. I wouldn’t say the previous art looks cartoony but it doesn’t exactly look realistic either. The intention was clearly to make this installment more realistic to go with the story, and they started by altering the art. The faces look more realistic, the size/proportions of the characters look more realistic… everything apart from the ears and eyes looks realistic. This is a weird complaint to have but the ears bothered me, Ryoko’s bothering me the most. Instead of having ears, it looks like a number of characters have rectangles stuck to the sides of their heads. I’m not sure if Ryoko always had rectangle for ears and the different art style simply made me notice, but whoever designed the ears deserves to be shot. Repeatedly.
The music also differs considerably from what’s gone before, changing to fit with the new direction. In the past fitting but uninspiring and unmemorable efforts good for comedy were used, but in this there are drama orientated instrumental pieces. Even ‘Étude No.3’ – the famous piano piece – plays towards the end.
…Anyway, getting back on track. The story starts in normal Tenchi style; with Ayeka and Ryoko fighting like cat and dog and Tenchi getting involved. But within minutes (literally), Tenchi randomly stumbles upon a tree and, enchanted by its beauty, walks toward it. He then gets taken somewhere by a mysterious woman who appears before him.
The plot then fast-forwards six months. Tenchi has been missing and his harem have split up to search for him. Ayeka and Ryoko, who have teamed up, have managed to find out the city he’s living in thanks to Washu and they work as waitresses while living there to pay the bills. Ryoko has a watch that alerts her to Tenchi’s presence but hasn’t had any luck finding him.
It’s soon revealed that an older looking Tenchi, complete with long hair, has been living with the woman who appeared before him at the start. The woman is called Haruna and Tenchi has lost all of his memories. And when I say living together, I mean they live together as a couple, doing what couples do when alone. It’s normal for anything sexual in a harem to be used only for comical purposes, without any actual sexual intercourse taking place, but there’s nothing comical about Tenchi and Haruna’s relationship. They’re shown together in bed, naked, with Haruna on top of Tenchi early on and later Haruna moves herself slowly up Tenchi whilst he lies down, grinding her body against his.
I’m mentioning this and going into detail because it highlights the different audience the film is aimed at. Sex goes from being childish to being handled in a far more mature fashion. That’s quite a jump for what was, before this attempt, a simple and straight-forward harem story involving alien ladies.
Once it’s clear how Tenchi’s living, the plot starts moving slower. The first twenty minutes flew by – I was surprised by the pacing – but then everything slowed down for character development. Ayeka and Ryoko become more and more depressed with every glimpse of Tenchi happy; oblivious to their existence. Despite them being rivals for Tenchi’s affection when down in the dumps, rather than fight over Tenchi, they support each other. Ryoko pushes Ayeka’s buttons when she’s on the verge giving up and Ayeka tries to do the same for Ryoko. It’s fair to say their friendship and not the rivalry they’re known for shines through in the film.
All of the other development is, as you’d expected, Tenchi and Haruna development, mixed in with some Yosho (Tenchi’s grandfather) development because of his connection to Haruna. The other cast members basically just make cameo appearances. Tenchi comes across differently than the plain harem lead type from before; he’s far more troubled and always deep in thought, drawing in an attempt to express himself and the memories that lurk in the back of his mind. Haruna, who is the villain of the story, tries to keep Tenchi ignorant in an attempt to keep him close to her and ease her loneliness. Rather than being yet another one dimensional Tenchi bad guy, she’s well developed and by the end you can’t help but feel sorry for her.
The important characters all receive lots of development, and the story even fills in some small Yosho related holes. The only serious flaw is that, as I mentioned before, it doesn’t have the same vibe as the other Tenchi anime. It’s very serious, focusing almost fully on drama. There are very few comedy scenes and the cast only gets together at the end. If I was someone who loved Tenchi for being light-hearted fun, I wouldn’t be best pleased, so I can understand the problem people have with it… but I’m not one of those people and I respect those in charge for trying something different.
Overall, watching the film was an excellent way to end my Tenchi love affair. I was expecting to end it to end on a low note, but I ended up actually thinking highly of a Tenchi offering. To anyone other than diehard Tenchi fans who can’t accept change, I strongly recommend it.
This movie is an original, meaning it’s not a sequel/prequel to the TV/OVA whatsoever, borrowing just the concept/cast/background of Tenchi Muyo, which I like. The story’s rather simple but intriguing, with an interesting twist. The pace of the whole show is set steadily and it gives a lot of room for thinking. The setting felt somewhat nostalgic and familiar. The tone is not as comical as the TV/OVA but a tad more serious.
The art of Tenchi Muyo in Love 2 is beautiful. I grew up with cel-art, but my generation belongs to CG, so I can appreciate both kinds of artwork, and the artwork is really really gorgeous. Environments are rendered realistically but it fits the mood and setting. The characters are also drawn in higher quality than in the series, with more care of the details and richer colour. There are a few new character designs that I think are better than the old.
I don’t usually pay attention to the music/sound unless it stands out, but definitely the sound/music helped to create the magical mood/setting of the show. The ending song is very appropriate and soothing as well.
There are some new characters in the movie and I like the characters as they are and how they fit into the movie. The older characters didn’t get so much air time but I think each character is given enough screen time to make a significant impact on the main character. The main character gets a lot of development and gets shown in a different light than usual. I felt like I got to know the main character a lot more from this short 1-2hours than the whole TV/OVA series.
I enjoyed it a lot. It’s my cup of tea. The ending was done rather well, and the length of the movie is just nice.
Anyone who enjoys a good cup of a romance movie should try Tenchi Muyo in Love 2. It doesn’t really matter if you watched the original series or not. Definitely a must watch for people who likes older anime and cel graphics.
The art style and shifts in art throughout the story are very interesting and different.
To get ANY ENJOYMENT from this film I would suggest watching Tenchi Muyo the TV series to understand the character relationships and motivations.
There are not actions scenes or fighting so if that is your thing you might be disappointed.
7: Persona 4 the Animation: The Factor of Hope
English: Persona 4 the Animation: The Factor of Hope
Japanese: ペルソナ4 the Animation -the Factor of Hope-
MAL Score: 7.32
Recap of the entire 25-episode television anime series with new cuts and also the unaired “True End Episode” that was included in the 10th Blu-ray Disc/DVD volume.
But that’s not its intended purpose. While it can be seen as a money grab (profits made from this series will probably go toward the Persona 5 Animation, if there is one), it’s just an entertaining review of the series itself. As P4’s plot takes many turns, this movie may help you recollect what happened or explain a part you didn’t get.
The selling point of the movie is the aspects that made P4: The Animation an enjoyable watch. The sounds, soundtrack, characters etc. are all in par with the original show. The criticized art style this series has does not improve in the movie the but it doesn’t get any worse. If you’re used to this art style (which is why I recommend watching this soon after completing the Animation), you should be fine.
Recaps can be discouraging but this one is acceptable. If you really need that refresher course or just have to see everything Persona 4, it’s worth your time, or at least some of your time. If you’ve played the video game Persona 4 and the Animation clicked with you, Factor of Hope isn’t a mandatory view but it’s your call.
6: Tenchi Muyou! in Love
English: Tenchi Muyo! In Love
Japanese: 天地無用! in Love
MAL Score: 7.42
In a dark corner of the universe, intergalactic criminal Kain breaks out of prison and destroys the Galaxy Police Headquarters. Basking in the afterglow of the terror and destruction he has caused, Kain sets his sights toward a much bigger prize waiting on Earth.
Meanwhile, Tenchi Masaki and his crew are watching some old home videos of his mother, Achika. As the film rolls, Achika slowly starts to vanish. While watching her fade away, Tenchi also begins to disappear. However, thanks to a device created by Washuu Hakubi, Tenchi is not gone for good.
The gang soon learns about Kain and deduce that he must have done something to Achika, which has resulted in time being altered. To save himself and maintain the future, Tenchi travels with the girls back in time to protect his mother from her fate.
If you loved Tenchi and 90’s anime as much as I do, there is a lot to take from this film. The artwork is drawn in the certain old fashion style and the music is charming. The actual film starts out like a slice of life as everyone adopts to their new lifestyle while trying to protect Tenchi’s mom. There is laughter, Ryoko and Ayeka share some their classic banter and other great characters return like Washu, Sasami and co. The third act of the film is a bit slow, going more into the fantasy aspects of Tenchi, where as I was more enjoying the casual school life with a little bit of mystery as to Kain’s appearance. But the ending was beautiful because it was your classic anime ending. I don’t know why, but endings to anime films, usually from the 90’s always get to me. If you love Tenchi Muyo, you will love this film. A classic in 90’s anime culture.
The best things that can be said for this is that the soundtrack is very good and the animation quality is still pretty good, even with the anime hair. It looks nice and it’s detailed and bright, with that extra polish movies typically get. I also still love the way they animate Ryoko and her abilities. Still my favorite version of teleportation, and I love watching her fight.
The plot just doesn’t make any sense whatsoever. Every infodump scene is nonsense that couldn’t even be classified as junk science and none of the characters do things that make logical sense in any fashion whatsoever.
The opening is supposed to be an emergency scene where we preview just how powerful Kain is. But nothing any of the police officers(?) says make sense. They’re studying time? Time is passing? Oh no! What will we do when time and space are moving! (Paraphrasing a line one of the characters says) Kain sucks the space station into a black hole. Then… makes it reappear, but severely damaged. Because. Because? Sailor Pluto may be a character I love but jeez this short scene makes even less sense than her character timeline.
How did Kain escape? We never know. It doesn’t seem like he can get more powerful in his prison cell. Washu at least compensates for this at the end by commenting that he’ll probably escape again, so best murder him before that happens cause you know… he kills planets and stuff. But if this ‘galactic cannon’ exists in the present, prior to Kain escaping, and they clearly are not attempting to reform and eventually release him, and he did all those bad things… why NOT execute him? Are they studying him? When Washu goes into the database for the police they don’t seem to have learned anything about him so all this time has passed and studying him hasn’t seem to have done anything for them, if that’s what they’re doing, and he somehow escaped his prison so… maybe just use the cannon on him to be safe?
Why would someone even build a cannon that can destroy galaxies? What is the purpose of that? As a way to keep the Jurai in check? And if Kain destroyed the entire Galaxy Police force, where did Washu get the cannon from? Or is that at the university she got kicked out of? Why does a university have a galaxy destroying cannon?
So Kain gets powerful enough to escape his prison somehow. Okay. Why… go after Achika? Why go back in time? Did he lose control of his power and get kicked back in time after traveling near Earth for some reason – which was nowhere near his prison cell – and then, well, he’s ‘attracted’ to Jurai energy so he found Achika? It’s less silly than thinking he planned this out. He clearly doesn’t know who Achika or Yosho are ahead of time. Although it’s odd that he’d go after Achika rather than Yosho, considering that Yosho might be stronger. Maybe Yosho really is just that good at hiding himself.
I feel like if a sentient supernova, as Washu puts it, were able to break out of an impossible to break out of dimensional prison somehow, probably going to the planet with lots of Jiraians on it would make more sense than traveling to some random planet and then going back to the past. Particularly when there are fewer powerful Jiraians there. In the present you have Yosho, Tenchi, Ayeka, Sasami, and all the equipment from Ayeka and Yosho’s ships. In the past you just have Yosho and Achika, and the remnants of past Jiraians who settled there long since. Kain doesn’t seem to be out of control of his powers. His time travel was deliberate. So… why? It’s not like Achika trapped him originally. Why not travel back and kill the people who imprisoned him in the first place?
The A-Team gets told one instruction: DO NOT INTERACT WITH ACHIKA BECAUSE THAT COULD CAUSE A PARADOX! So what do they do? Immediately do their best to interact with and interfere with Achika’s life. I mean already the answer to PARADOX is “stalk teenager in the past” so whatever.
And why is the random galaxy police officer there? Can the galaxy police travel back in time? Kain should already be in prison in 1970. Why doesn’t the dude alert headquarters if he’s from that time period? How did he track down Achika? Washu at least has Tenchi to go on for her calculations. What the heck is this officer relying on to track Achika down? For that matter, why isn’t the information that officer had available to Washu when Washu looks up the database info about 1/3 of the way through the story? I like watching Ryoko fight, but the dude is literally there just to pass time by telling us information we should have learned earlier.
Why doesn’t 1970s Yosho know who Ayeka is? He should be able to at least tell that she’s from Jurai, at the least. I get it, past him is only in like five seconds of two scenes. Maybe he’s just observing to see that nothing goes wrong. Maybe he doesn’t know she’s his sister. I guess. But… still.
Why is Mihoshi a teacher and Kiyone is a janitor? There’s no reason for them to pick one over the other, but Kiyone makes better sense as a teacher because she has the sense to figure it out more than Mihoshi does. Sure, Mihoshi could probably still screw up a janitorial position, but how would she pass as a teacher? Her entire time on-screen is devoted to how bad a teacher she is. Hilariously, somehow, in the next film she’s shown doing cleaning work. There’s no story reason for why Kiyone went with the janitorial position, unless you editorialize that Kiyone hates kids and/or teaching and Mihoshi hates manual labor and/or cleaning?
And then there’s the climax. Achika and Noboyuki get sucked into this other dimension/alternate timeline(?) Washu found. The A-Team needs to get them out. Interestingly the dub has Tenchi say that he doesn’t want to die. The sub doesn’t. I get it, the audience should know that, after the whole plot of the film, Tenchi’s parents not getting together and having Tenchi means no Tenchi, but it was a bit… odd. Why does Ryoko ‘save’ him? She’s not saving him. There’s no way to ‘save’ him if his parents are sucked into the void with no way to return.
So the A-Team needs to get to the parents, even though there’s no way to pinpoint their location. Oh, I know! We’ll transfer Achika’s brainwaves to Tenchi! And Ryoko can lock onto the coordinates of that!
…I really think whoever translated for the sub did a bad job. Like I hope that’s what happened. If not, like. What? On the one hand, maybe it’s sort of an “Assassin’s Creed” genetic memory thing before AC was a thing. Doesn’t really explain how pulling on Tenchi’s “genetic memory” of his mom would pinpoint her present location unless he’s like… looking through her timeline. In which case, she shouldn’t ‘sense’ him. Because he’s not connecting with her. He’s just looking at events that have already happened in HIS past.
Basically the climax is “we can’t find the spatial coordinates so let’s transform monkeys into apple pies to solve the problem”.
Hey remember how the series fridged Tenchi’s mom? Remember how everything we know about her, from the movie and the various series, makes her sound neat and interesting and powerful and she would sure be an interesting character to see a story about? Remember how this ending basically explains how she got fridged?
Skip this. It just… is not worth it. Listen to the soundtrack somewhere else. The dub handles what jokes there are better, because the sub actors have no intonation, but the ‘jokes’ are also poorly timed and the script is just bad, so whatever.
5: Aura: Maryuuin Kouga Saigo no Tatakai
English: Aura: Koga Maryuin’s Last War
MAL Score: 7.44
Ichirou Satou is an ordinary high school student who pretended that he was a hero by the name of “Maryuuin Kouga” back in middle school, which led to others frequently bullying him. Now that he has left this embarrassing phase behind, he does his best to avoid standing out and live a peaceful life, although he feels the world has become quite dull. But when he makes his way back to school one night to grab a textbook he left in class, he runs into a strange girl wearing a costume.
This girl, Ryouko Satou, happens to be his classmate and is affected by the exact same condition that he once had, holding on to a delusion that she is someone else and dressing up to reflect this. The very next day, Ichirou is asked by his teacher to become friends with Ryouko, to which he adamantly refuses, unwilling to be reminded of his own history. When he sees that she is being bullied just as he once was, however, the boy makes it his responsibility to take care of her and break her free from that which what once plagued him—the perfect job for Maryuuin Kouga.
That’s what Aura’s story is mainly about. Aura is about a story of former chuunibyou (8th grader syndrome) case who’s now trying to become a normal person, that is until a faithful encounter with a girl who calls herself as a “researcher” searching for dragon terminals. At first, he hesitates on helping her as he doesn’t want to have a relapse again but soon finds out that she needs his help.
Aura: Maryuuinkouga Saigo no Tatakai is a slice of life story that has a subliminal message. We all know the pain of bullying either as the recipient of it or as a bystander observing the damage done to the bullied. It’s never beautiful and that’s what Aura conveys. It shows how people tend to step on other people when they outshine them in certain weird and quirky ways. It is less a comedy show (unlike Chunnibyou demo koi ga shitai) and more of a drama with realistic elements.
The art and music of this show is about average and there’s nothing much to revolve about in the story but the main driving point of the show are the characters. This movie is all about character development. You start off with a doubting protagonist that would end up as a dependable friend for a lot of people. That’s the norm and this doesn’t deviate much from it except for the fact that the heroine not depended on him but he changed her. All of the characters can give you the proper emotions. You take pity on those who are being bullied and you get mad at the antagonists. Personally, there was a time I was afraid I’d punch my monitor because of the rage building up inside me. That’s how well the characters can pull you into their simple lives, something most shows can’t do.
Overall, the movie is enjoyable. The flow of the story is smooth. Despite the abrupt turn of events in the middle to last scenes, the story progression feels natural and believable. It feels like you’re seeing real people and not just an animation so kudos to the voice acting staff in that division. You’re surely bound for a roller coaster of emotions for this piece that would lead you to tears, anger, and smiles. Just try to view this movie with an open mind (Please don’t try to compare this with Chu-2 since they are both different) and I’m sure you’ll enjoy every twist and turn you’re gonna go through.
On first glance, the Don Quixote is a very clunky tome of a book, with about 800 pages, full of slapstick moments, very unrealistic damsel-in-distress-esque female characters, lengthy and possibly monotonous digressions, and, even with the Modern lauded Edith Grossman translation, still reads like a sack of old bricks. The style of the book, when seen from contemporary times, is very much like Cervantes’ description of the Don and his horse, a thin crooked gentleman on an equally battered mare riding off godspeed into who knows what kind of uncharted territory. The experience of reading the book itself was, to me, partially entertaining, due to the comedy and wit of some of the scenes given that it’s one of the first books to properly use metafiction; but most of it was a lump of text after text that bored into my skull.
Yet classics must not be read in isolation. The Quixote has been called the Spanish Bible, has been lauded by all sorts of writers such as Borges, Kafka, existential philosopher Miguel de Unamuno, the orientalist Simon Leys (who wrote a very very good essay on its importance in the world) and even hated on by Nabokov. A classic is not merely a text by itself but it sucks history itself with it and must also be read within the soup of history itself. What is it exactly that makes this comedy of an old man who becomes a knight in a world where chivalry is dead and gone so edifying and grand?
The answer here is in the word ‘becomes’. This quote comes from Simon Leys’ essay:
“The occupation which Don Quixote chooses for himself is that of knight errant. He is not under the delusion that he is a knight errant—no, he sets his mind on becoming one. He does not play at being someone else, as children do in their games; he is not pretending to be someone else, like an impostor, or impersonating a character, like an actor on stage. And he adopts the profession of knight after due reflection: it is the result of a deliberate choice. After having considered other options, he finally decided that the career of a knight errant would be the most rewarding, intellectually and morally.
But how does one become a knight? Van Doren asks. By acting like a knight—which is the very opposite of pretense, of make-believe. And to act the way Don Quixote does is more than to ape. To imitate as he does is a profound apprenticeship—the true way of learning and the key to understanding. “What is the difference between acting like a great man and being one?” Van Doren asks. “To act like a poet is to write poems; to act like a statesman is to ponder the nature of goodness and justice; to act like a student is to study; to act like a knight is to think and feel like one.”
Had Don Quixote been simply and plainly mad, or had he indulged in a protracted game of self-deception and play-acting, we should not be talking of him now, Van Doren observes—“We are talking of him because we suspect that, in the end, he did become a knight.”
This is the crux of the Quixote, which is to provide a vision of a man who decided that, with nothing being right with reality, it should be slayed. The dragon in the Quixote is not the windmills, nor is it the giant, but all of life itself, and to be exact Spanish life in the 17th century, full of small little taverns and farmers leading mundane lives. And the most stunning thing of all is that he actually succeeds, in ingraining himself into the view of the reader. Regardless of whether Don Quixote is a good knight or a bad knight, by the end of the story he is still, utmost and completely, a knight.
But being a knight is no easy task, especially in a world where knights are dead. Nabokov’s great gripe with the book is that he found it to be too cruel. “Hideous cruelty —with or without the author’s intent— which riddles the whole book and befouls its humor”. The sheer about of blows that fall on the two main characters would probably be enough to cause significant limb and spinal injury to render them both invalids for life. The laughter and exploitation of the Don’s position, especially in the later part of the book, is the pinnacle of Schadenfreude. But actually what makes the Don is its cruelty. Without cruelty, the Don would not have become, to us, a knight. He would not be a knight because he would have no dragons, and nothing would prevent him from being viewed as merely a play-actor leading a life of luxurious delusion. It is because the Don struggles at any cost that he becomes edifying. Unamuno wrote an entire book arguing that Don Quixote was an existentially real human being, even more so than his creator, who has been lost more or less in the annals of history as a paper patchwork of sources and university historical analyses.
Likewise Borges himself wrote a story about a man on a strange task, to write the Don Quixote without actually reading it, by fully assimilating the writer into himself and creating the work exactly as the writer should have done. The surprising thing too is that Pierre Menard succeeds in his quest to write the Don Quixote.
It is an interesting observation to make that today’s world, rather than suffer from an exceeding amount of simulation brought about by media and video game addiction, seems in fact to also suffer from an overload of Reality. Nowadays we live in the shadow of Youtube and quick and easy video devices. There is no bad deed that is not filmed and uploaded out there. There is no embarrassment that has not been captured. We live in a world full of endless depictions of the true disgusting horrors of war, the silliness of broken testicles by people who commit acts of grandiose insanity, religious organizations and fundamentalists being stripped apart as lunatics, and all sorts of miscarriages of justice. Idealism is stark dead because no one can do any vigilantism without having shaky cam footage of some drunk idiot in a suit getting slammed by a beer bottle soberly stripping apart the fantasies of the millions behind computer screens. In some strange way society has hardened itself up against fantasy while equally basking in it. This means that the ideal world and the real world do not mingle like before but are put behind stark bars; an either/or proposition.
Without the power of fantasy, some of our greatest exploits would become woefully insignificant, and we wouldn’t be driven by the mad feelings to stop that bully or confess to that girl or do something to win the favor of the people around us. The sad thing is that now all these fairy moods are recorded down strictly and objectively in places everywhere, where men can all be judged without regard for subjectivity. Its not a bad thing though, since it also means that the grand horrors of Nazi Germany, with its monstrous spilling over of fantasy, has a much much lesser chance of coming to pass. But in the end everything must be done in moderation. An excess of fantasy is just as bad as an excess of reality; by strictly stratifying the two into two separate domains, some which the psychoanalyst Carl Jung was fighting desperately against, human being was divided without being able to become whole.
(On a side note here. Tanaka Romeo, who wrote the original Light Novel for Aura, has been considered one of the greatest writers of Visual Novels and Light Novels ever, sometimes even considered as the Shakespeare of the LN/VN industry. His major themes are usually about outcasts and people who are split away from the norm, as well as some critiques launched at social institutions. Sadly from some comments floating out there on the net, it seems his work will never be fully appreciated except in the original language.)
In today’s stratified world, reality and fantasy have both reached their extreme ends. Hard pragmatism and self-interest plagues hordes of politicians and citizens, while the other half are so far off into the realm of delusion that there is almost no referent back to reality, sometimes due to the disproportionate social backlash that results from it. Fantasies are regulated into ‘subcultures’, ‘phenomena’, ‘fashions’, ‘fads’, or even worse ‘mental disorders’ (I’m okay with the belief that certain mental symptoms can be ‘cured’ just as easily as physical symptoms, but the modern perception of mental disorder, especially among people who don’t know exactly what it means, is a whole other different matter), and other big labels indicating that these are separate from life itself, based on some tenuous set parameters where fringewalkers can mingle with other fringewalkers without falling into the general ‘mainstream’. The fact is that these are all as much manifestations of Life and Society as the so-called norm. (It may be a result of the political structure that this results. For an interesting viewpoint see Hunter S Thompson’s brilliant journal on using fringe culture to try and affect politics in Aspen.)
But in this world can then anyone be so fully and existentially self-determined to be ‘rationally fantastic’? That perfect blend of reason and fantasy that has shook many readers to the core ever since the Don Quixote was first created? There are many thinkers and people who have been posited as such, such as Che Guevara, Renzo Novatore, Max Stirner, Jack Kerouac, and other idealists. The stark difference though is that these are merely idealistic are not ‘fantasists’ like the Don.
Which brings us to Aura. This adaptation of the Tanaka Romeo light novel works by being a whole lot more cruel, and as a result a whole lot more cathartic, than that other famous Kyoani Chuunibyou work out there. Sadly it probably doesn’t do the original enough justice, and it also suffers from extensive melodrama and too black-and-white a morality. Also none of the characters ever take things to the extent that the Don does, and in the end they still come off as play-acting heroes rather than really being them. Much of the ‘humor’, if this can even be considered the comedy, comes from the insane technolingo that comes out of the main heroine’s mouth in reaction to completely ordinary situations. The movie has moments, like von Trier’s Dogville, where you get a cheap satisfaction or feel needlessly enraged because of the stark villainy and the stark heroism. This would probably work better if it had been longer, but yet for what it gives us, it’s worth a watch. But upon coming to the finale, something amazing happens. Whereas Don Quixote was about the Don’s madness striving on in spite of the relentless cruelty of the world, what happens at the end of Aura is the opposite, where madness succeeds in infecting reality, and the world transforms into an Expressionistic-Romantic landscape so brilliant and powerful that it becomes a full exaltation of the need for escape in a bitter reality.
In any case Aura walks down the road left behind by Cervantes; a critique of stark realism, and in praise of fantasy.
4: Aa! Megami-sama! Movie
English: Ah! My Goddess: The Movie
Japanese: 劇場版 ああっ女神さまっ
MAL Score: 7.56
For centuries, a god named Celestin has been imprisoned on the moon for betraying the kingdom of Yggdrasil. Released by the fairy Morgan Le Fey, Celestin travels to Earth to reunite with his former pupil, the goddess Belldandy. Things go awry as Celestin erases Belldandy’s memories of her boyfriend Keiichi and uses her as a catalyst to wreak havoc on Earth and Yggdrasil.
The romance is awfully cheesy and harem-y.
The characters are bland and one-dimensional and totally predictable, especially those too brown-haired losers who are the so-called protagonists, t
The sound was unimpressive, and the animation was average. It played out to me as one extensive episode, not a movie. Movies have a certain feel to them, and it was severely lacking in this so-called "movie".
It just wasn’t exactly easy to follow if you hadn’t seen the series, but you would get it immediately that the two main characters are in love, everyone else are side-kicks. That doesn’t say much about how they work out the plot or anything about subtle nuances. Most of the drama was shoved in your face, and I can’t say I enjoy anime that do that.
One of the dumbest anime I ever had the misfortune of seeing; I was screaming, ‘Ah! My poor brain!!’ after watching it.
Ah! My Goddess is a big fan favorite of the past decade or so, and know they have a movie. I recently had the pleasure to enjoy this movie by downloading it, (if u want i can tell u the site) anyway i thought the story meshed really well together and was a good finisher for the first 2 seasons the visuals flowed very good together simular to the series. The problem i had with this one is that compared to the series the art isin\’t near as good as it is in season\’s 1 and 2 which is very dissapointing but the sound was great expecially during the fight sequences.
The character\’s remained the same however they introduced Belldandy\’s mentor Celestine but the story is centered around Keiichi and Belldandy.
I really enjoyed this film and is a must for ah my goddess fans or ramantic fans, it offers everythings twist, and turns just like in the series i would suggest this to any anime fan, so overall i give this movie a 10.
But if you have any questions contact me or if you would like a site to download this movie please contact me.
Though I loved the series itself, I can definitely understand why a lot of people wouldn’t like it. It just seemed to linger on and on around the dude trying to impress belldandy even though he doesn’t have to.
The animation is so-so, but nothing you can’t be used to already…Not THAT much different from the series. The story is a bit cliche, however if you are attached to the characters as I am then you will love how it unfolds. The characters haven’t really changed but you see them at their best in this movie. It’s a good watch then a re-watch movie, which is better than I can say for most.
3: Persona 3 the Movie 1: Spring of Birth
English: Persona 3 the Movie: #1 Spring of Birth
Japanese: PERSONA3 THE MOVIE —#1 Spring of Birth—
MAL Score: 7.56
At the stroke of midnight, the Dark Hour appears—a secret hour which most are unaware of. Those not trapped in coffins during this time, unfortunate enough to find themselves conscious, are met by dangerous creatures known as Shadows. A select few, however, possess the potential to wield Persona: a special power used to defeat these beings. This secret group is called SEES (Specialized Extracurricular Execution Squad), and their mission is to uncover the reason behind the Dark Hour’s appearance.
Only a short while after transfer student Makoto Yuuki begins his residency at Iwatodai Dorm, his Persona awakens after an attack by a strong Shadow. Now recruited into the ranks of SEES, he begins fighting alongside his comrades, as only they can protect humanity from Shadows and prevent the anomaly that is the Dark Hour.
The first big-screen outing of Persona 3 is roughly 90 minutes long and it covers April to June. They have cut out much of the school life aspect, and there is no mention of the characters joining clubs or taking exams. Instead, it focuses on the members of SEES and how their bond grows stronger. Makoto Yuki was a blank canvas in the game and at the beginning of the film he still feels like one; he is quiet, doesn’t say much and doesn’t really care about his own life or have much of an interest in those around him. Seeing Yuki piece together his emotions and learn what it means to have friends and comrades is a nice touch to the movie.
If you’ve never played the game but have seen or played Persona 4, the first Persona 3 movie is darker and doesn’t have as much comedy. It focuses more on jealousy, bullying and friendship. It jumps from one Full Moon battle to the next, with moments in-between where the group gets to know each other better. Yuki, Yukari and Junpei’s first battle within the Shadow-infested tower, Tartarus, is very fun and beautifully animated. Junpei ends his battle with his famous line about levelling up, before becoming jealous of Yuki’s abilities. Akihiko and Mitsuru haven’t had their time to shine yet, but there is plenty of time for that in the next movie.
After the credits we see a certain character opening their eyes and are told that the second movie is coming Summer 2014.
I couldn’t help but smile when the opening credits started accompanied by Burn My Dread: Spring of Birth Version and that smile stayed on my face for almost the entirety of the film. Shouji Meguro’s music is always fantastic and this film’s soundtrack is no exception, the memorable themes of Tartarus, The Velvet Room and Gekkoukan High School all return. These familiar pieces alongside the impressive animation makes the film that much stronger.
As a fan of the game, I found Spring of Birth very enjoyable, Makoto Yuki’s character development, the battles and the fantastic animation made it well worth the wait. I would’ve liked to have seen more of the side characters and school life, but overall it did a really good job of bringing the characters to the big screen.
I originally wrote this review for my own website, but several users have messaged me asking me to review it on here as well.
[It delivers us all to the same end.]
The latest effort in animating this esteemed JRPG series is finally here, aaaaand it’s a movie series. This means the release schedule will be hell to endure, but the payoff is definitely worth it so far.
First things first, the animation is beautiful. Anyone let down by the Persona 4 anime’s low quality should breathe easy, for the P3 movie looks stunning. The backgrounds looks great and the characters are sharp and on-model at all times. That movie budget is showing. The Dark Hour in particular looks great, with a muddy painting-esque look differentiating it from the daytime sequences. It works very well in making it look all otherwordly and creepy.
As for soundtrack, here’s where this follows the P4 anime’s footsteps. Most of the OST is lifted from the game, and occasionally slightly remixed, with some original compositions in here and there. It works, even though they liked using the main battle theme just a bit too much. (Several scenes opened with the iconic chant of BABYBABYBABYBABYBABYBABYBABY.)
The 90-minute movie covers the game up to and including the Fuuka Yamagishi arc, which is well over 10 hours of game time. There was a lot of daytime fluff scenes cut, much like in Persona 4, but here it didn’t really end up making the story or characters suffer at all, nor did it make the movie feel rushed. The fluff scenes were important world and character-building in Persona 4, but entirely superfluous and sometimes even badly written in Persona 3, so it’s more like they just trimmed the unneeded fat. What we have in its place is a more tightly paced, suspenseful story, which is more in line with what I expected Persona 3, the game, to be before I played it. The social links are relegated to background props and one-scene extras, but I never liked P3’s social links, so I’ve no problem with that.
With the fluff scenes cut, the main story sequences are relied upon to give the characters depth, which works wonderfully. The movie’s version of the protagonist, Makoto Yuki, manages to show great amounts of depth with very few lines. Just like with P4’s Yu Narukami, the shift from silent protagonist to actual character has gone swimmingly. Other characters I felt gained a lot from the movie were Yukari Takeba and Fuuka Yamagishi. Yukari’s interactions with Makoto are very different from the game, and definitely make her come across as much more than just “designated love interest girl”. Fuuka never got much attention in the game, but her struggles here are played up a lot, which is only a good thing. Other characters, like Junpei, Akihiko, and Mitsuru, aren’t given overhauls that big, but we’ll see how the other movies handle them.
My main complaint is the action sequences. It’s nice to see the party make use of weapons, which was missing entirely in Persona 4’s anime, but the action sequences themselves are very static and awkward, with competitors often just standing around, waiting to get hit. I suppose that’s accurate to the movie’s source material as a turn-based RPG, but it doesn’t make for compelling action scenes.
I’m not used to hearing the cast in Japanese, so that was a semi-new experience for me. It was weird, because the game’s dub was how I first experienced P3, so I’ve come to associate the English voices more closely with the characters than I do the originals. Nevertheless, the Japanese cast is, as is typical, stellar. I particularly like Mamiko Noto’s Fuuka, who projects a whole different image than whoever her English VA is.
I wouldn’t recommend Persona 4: the Animation to someone who hasn’t played the game. The opposite is true here. Despite the limited time, Persona 3: Spring of Birth is a very good adaptation of the game’s opening hours, and many scenes I’d argue were even improved a lot in the movie. There’s a lot to see for P3 veterans, too. Basically, everyone should watch this. You should watch this. If you’ve already watched it, rewatch it.
That is all, dismissed.
To put it bluntly, I went into this film with very high expectations. The Persona sub-series seems to be almost universally beloved in my online friend-circle, and frankly, after years of waiting (I own no Sony consoles besides my (now broken) PSP), I wanted to see what all the fuss was about. What I found here was technically a disappointment, but only because of my artificially raised expectations.
The story of this film is fairly good, but has hints of developing into something extraordinary in the next films. Being an adaptation of what is only the first part of a larger tale, it has very little in the way of plot, focusing instead on (somewhat clunky) exposition and the introductions of the main characters. While I am pleased with what I have seen of the cast so far (particularly Makoto and Junpei) I cannot help but feel that the nature of the film as an adaptation artificially constrained how far we could dive into them in this outing. Mitsuru in particular strikes me as having her development held back because that is how the story unfolds in the game, rather than following how it should naturally go in this medium.
Bolstering the weaknesses of an adaptation is the gorgeous but understated animation. The characters are on-model at practically all times, and the designs of the shadows and personas are breathtaking to see in action.
Overall, this is a solid film for those who are unfamiliar with Persona 3, but my intuition tells me that first-timers like me would likely be better served by biting the bullet and playing the actual game before viewing this. That said, I was sufficiently intrigued by the film to be motivated to get off my ass and buy a used PSP so I can play it, so the film definitely did its job in that respect.
2: Strike Witches Movie
English: Strike Witches: The Movie
Japanese: ストライクウィッチーズ 劇場版
MAL Score: 7.59
After fending off the threat of a Neuroi invasion of Romagna and destroying the enemy’s nest over Venezia, Yoshika Miyafuji goes back to her home town in the Empire of Fusou. Despite the loss of her magical and healing abilities, the former officer of the 501st Joint Fighter Wing wants to continue studying medicine. This is in order to help those in need, both civilians and those on the front lines alike. She receives an invitation from a prestigious school in Europe and decides to accept the offer, embarking on a journey back to the war-torn continent.
However, a new danger arises, as more and more Neuroi manage to break through human defense lines, appearing unnoticed in supposedly safe areas and disturbing the balance of power in Europe. Yoshiki’s sense of duty collides with her inability to pilot a Striker Unit, but with her friends in peril, it seems that there is only one thing she can do.
Strike Witches revolutionized the “mecha musume” genre of moe anthropomorphism, especially because of the special attention given to the realistic setting of the series. Compared to the futuristic setting of Shimada Humikane’s earlier work Sky Girls, Strike Witches employs World War II era technology and personalities as the basis of its story. In a timeline where Earth’s history is altered because of the invasion of unknown aliens, the total war we know of is re-imagined as a fight between modern witches and the mysterious alien Neuroi.
Following the conclusion of Strike Witches 2, speculation was ripe among fans as to how the story could continue because the series protagonist Miyafuji Yoshika seemed to have lost the major driving force of her character development. It soon became evident that the creators did not intend on taking Miyafuji out of the picture. Strike Witches the Movie opens in August 1945, and the calm that follows the liberation of Venezia (Venice) and Romagna (Italy) mirrors the real world scenario where World War II is nearing its conclusion. Unfortunately for the witches, the Neuroi still remain a formidable enemy, and signs of a new invasion soon begin to appear throughout Europe. In the meantime, Miyafuji travels from her home in the Fuso Empire (Japan) to Helvetia (Switzerland) in order to enroll in a medical school and fulfill her desire to become a doctor.
Viewers are introduced to a new protagonist to the franchise. Hattori Shizuka, a newly minted officer with the Fuso Empire who enters the military with the same enthusiasm as Miyafuji did in early 1944. For Hattori, Miyafuji is the hero of the Fuso Empire who is admired throughout the country, yet Miyafuji does not seem to care for the hierarchical structure and formalities of the military and instead willingly takes up work seemingly unrelated to the fight against the Neuroi. This contradiction presents a conflict for the naïve Hattori, who dreams of the glory of battle described in stories of Miyafuji. In this way, it appears as if Hattori was introduced in order to serve as a foil to Miyafuji; however, viewers soon realize that her stubbornness mirrors that of Miyafuji’s when the latter first entered the military and sought to find her own purpose in the war.
Characters from the earlier television series, especially members of the 501st Joint Fighter Wing, return in numerous cameo appearances throughout the movie, guiding Miyafuji and ensuring her safety in the land journey from Gallia (France) to Helvetia. Viewers are also treated with additional appearances of witches in other units throughout Europe who are called into action by the new Neuroi enemy that caught them off guard. While it initially seems as if there are two separate plots in the movie, viewers are reminded that Miyafuji is indeed the main protagonist as the story begins to converge around her.
Strike Witches is known for its impressive mechanical design. Following in the footsteps of the two television series, the movie features World War II military hardware in detail, including the Japanese aircraft carrier Amagi. AIC presents an artistic quality that is above average, and the animation is especially entertaining to watch during aerial combat scenes. Despite the prevalence of low camera angles intended to market its military-girls-in-underwear appeal, these shots are weaved quite well into the combat animation, making them less distracting. If there were any complaints about the art itself, perhaps it is that the theatrical poster does not do enough justice to the quality of the movie.
The soundtrack of the movie does not vary from the television series, and viewers can immediately recognize the trumpet fanfare that has become the signature piece of theme music from Strike Witches. While this can become a point of concern, it can also present the viewer with the an atmosphere that unifies the movie with the two television series. Voice acting of returning characters also does not vary in the movie, but the performance of Uchida Aya as Hattori Shizuka is well deserving of an applause as she captured Hattori’s transformation into a character who begins to understand Miyafuji’s ideals. This is followed by a special ending song which features Hattori’s voice actress in its vocal cast.
If the viewer enjoyed the two television series, they will find the movie even more enjoyable. On the other hand, if the viewer feels that the franchise has become stale without recent developments, the movie can reinvigorate interest. Pacing of the plot is conducted in a balanced way by breaking it up into scenarios that resolve themselves quickly and maintain viewer interest as if discovering local adventures during a road trip through continental Europe.
Hitting on that first note about characters, what I liked most about the movie were the contrasting differences between the two main Witches. While Yoshika easily takes the spotlight by being more capable (and by capable, I mean badass) than she ever was, this movie is just as much about Shizuka, who strives to be like Major Sakamoto: strict, disciplined, and always lives by regulations. It’s only natural; Hattori comes from a family with a strong military background. However, every single time Shizuka tries to do things her way, Yoshika takes over and shows her something she’s not familiar with. Something regulations don’t teach.
If you asked me what Yoshika’s best quality is, it’s that she makes everyone around her better. She’s been doing that since the beginning, and she continues to do it in her latest adventure as Shizuka herself becomes a better Witch by the time the credits roll.
Now, there is a point in the movie that has some people feeling unfulfilled; those who have problems with how the movie turned out – and who actually need an “explanation” as to what happened with Yoshika – really need to understand the relationship between her and Shizuka.
While all of the Witches were awesome in their own right in the movie, I’d like to give a special shout out to Perrine, who was better than ever. Seeing her explaining to Shizuka about why Yoshika does what she does…really hit me hard. In a good way, of course. Looking back to when Perrine used to give our leading lady a hard time when she first became a Strike Witch, and then to see her express genuine feelings in that scene alone was simply amazing.
I certainly can’t write a Strike Witches review without mentioning the fanservice, can I? Well, there really isn’t anything we see in the movie that we haven’t seen in the first two seasons. If you’ve seen them, then you’ll know what to expect. If you want my personal opinion, I’m not against the fanservice, I would rather just like to see it toned down a bit in the future, if it can be helped.
Something that I think everyone here would have enjoyed seeing more of would be Yoshika’s and Shizuka’s mini-adventures through Europe. While the visuals weren’t necessarily breathtaking, they weren’t just “there” either. Seeing some of the vineyards of Gallia was a refreshing view, and really helped bring a sense of detail to the movie.
If there was anything I didn’t like about the movie, it would be the lack of time given to the non-501st Witches. For example, Nipa gives us a quick reference to her pilot archetype (Nils Katajainen), talks briefly with Eila, and that’s about it. Then there’s Heidi, who seemed like she was just there to be moé up until a critical point in the film. I understand there’s a plot that has to be paid attention to, but going back to the very beginning regarding characters, it’s equally important that the movie does all of the Witches justice, not just the 501st Joint Fighter Wing.
Overall though, I thoroughly enjoyed the movie and – as you can see from my score above – give it a 9 out of 10. The film stayed true to the franchise, and to the delight of fans like myself, has opened the door for more Strike Witches anime. Remember everyone…
…there’s nothing a Witch can’t do!
Strike Witches the movie gives you a chance to see all the old characters, the fun interactions that you want to see again, a new type of neuroi, and a new girl who was sent to get Yoshika and take her to a top medical school where she can do study abroad. The new neuroi causes lots of havoc which is expected and it’s nice to see a new kind instead a recycled old type of neuroi. I don’t always like when shows pull this stuff, but Strike Witches is the very definition of friendship is power. I thoroughly enjoyed it and I recommend watching it. Expect what the series offers you and nothing more. Hope you enjoy it too!
I feel like adding one more thing to my review. This movie also keeps the character driven aspect of the series. Considering most of the mains series was episodic, being character driven is important to keep things interesting. You won’t be disappointed by this aspect in the movie either.
1: Sora no Otoshimono: Tokeijikake no Angeloid
English: Heaven’s Lost Property the Movie: The Angeloid of Clockwork
Japanese: 劇場版 そらのおとしもの 時計じかけの哀女神（エンジェロイド）
MAL Score: 7.59
Movie adaptation of the Sora no Otoshimono manga, based on Kazane Hiyori’s arc.
Two high quality seasons do the series justice, with a third as of now currently in the making. Generally, the way the series progresses is through a mostly episodic format. Each season would start by introducing characters, engaging them in comedic situations, and later expanding upon the story in detail. The only problem with this format is that it is initially misleading for those who want to judge the series immediately upon watching a single episode, but as a whole the series is able to offer incredibly well-rounded entertainment as a result.
Now one of the fundamental problems with this movie is the episodic nature of mixed comedy and drama lends itself to awkward execution for a standalone production that is meant to run for over 90 minutes. Sora no Otoshimono does not have a plot that is told continuously from start to end. There are breaks in between action due to the comedic nature of the series, and story arcs are fairly brief. The brief nature of these story arcs isn’t necessarily a bad thing, but for this movie it creates a situation where a lot of time is wasted simply trying to overextend the plot so that it fits in a 90 minute time window.
The first 40 minutes of the movie go into the introduction of Hiyori Kazane, a character who was briefly seen late into the second season of the series. Through flashbacks and reused footage of the previous two seasons, we see from her perspective how she has held constant romantic interest in Tomoki. Understandably, this recap of previous events is somewhat helpful for viewers who have not seen the first two seasons. However, it also comes off as redundant as in each flashback from different episodes over the course of 40 minutes, essentially the same thing happens. While Tomoki and his friends are up to some shenanigans, Hiyori is watching from the sidelines, narrating how she wants to have fun with Tomoki, but is scared to say anything to Tomoki or much less look him in the eye.
As the character of focus in this movie, Hiyori proves to be a rather uninteresting character. She can be summed up as being a bad case of Yamato Nadeshiko, or in other words an ideal, soft spoken, and submissive Japanese woman. If there is anything entertaining about this personality, Hiyori’s naivety around Tomoki’s perverted schemes comes off as comedic, but as a character she exhibits very little development or enlightenment to strengthen any interest in her.
The movie does have some good things going for it in spite of its glaring fundamental problems. The best part about this movie is that like the seasons before it, it maintains high production quality. Animation for this show is top notch especially during the few high action scenes. Voice acting for each of the familiar characters is appropriately executed. And even though Hiyori exhibits poor characterization and development, Hikasa Youko, who is probably known better for many strong-willed female roles, does an excellent job delivering her soft-spoken nature.
All in all, Sora no Otoshimono, or at least the part of the story in this series that was chosen I do not feel lends itself to being able to support a full feature length movie by design. While the series maintains a solid story, it does so in bits and pieces with comedy scattered in between, and it is not set up to normally maintain an extended plot arc. As such, most of the movie watching experience may feel largely like a waste of time when half the length of the feature is occupied by flashbacks involving reused footage with commentary from Hiyori. This production in this way fails to maintain what made the seasons before it so entertaining, by losing the ability to jump and flow readily from comedy to drama to maintain viewer interest. The level of freshness and energy that the TV series could maintain for episode duration simply could not be accomplished for this movie.
To be fair, the execution problems the movie has are not uncommon for a lot of movie adaptations for other popular series, due to the nature of movies picking up at a place somewhere in the middle of the story. If you can accept that in your viewing experience, you can at least appreciate that this movie does have amazing production quality to redeem itself.
I just can’t stop grinning when the message pops up “Have you guys forgot someone?” (not 100%, but close enough translation). Then I burst into laughing as Tomoki leads the OP, a very funny OP that is timed very accurate with the motion. After that we get to meet our new heroin Kazane Hiyori, there is a lot of blushes we see coming from Hiyori whenever she sees Tomoki. Despite the fact that the recap at the start was somewhat long, with some new additional scenes that Hiyori is in it, but I don’t mind it it just felt nostalgic, got to see our characters again. Up to the point where Hiyori finally gather her courage to join the ‘New World Discovery Club’ in order to get close to Tomoki, then the story start progressing. Minutes of this movie goes by fast reaching to the point of where the climax of the movie begins. Comparing to the 2 seasons I think this movie have the power capture the emotional feelings of the audience. The story telling will jump from between Hiyori and Tomoki point of view. The pacing of the story has good not too fast nor slow, although you may feel a bit rushed when Hiyori’s arc begins after those recaps, but is not true because the pace have been controlled well. Just like the two previous seasons the switching mood of the story has always been great, an instant click from funny moment to serious, serious to hilarious, hilarious to sad, so this is also a highlight of the story. There is some part in the manga of Hiyori’s arc is not include in this movie, but nothing major all the important point are here.
The visual appeal are very pleasing, whether is the normal sized characters or the SD version characters both worked. One art work that i need to give credit to is the huge clock work design on Zeta’s back. The details is amazing, all the clock mechanics was well displayed, overall look great. The battle visual effect is great too. The art is fantastic.
Great to hear some new songs the funny OP, the insert songs, the ED song. As well as some old songs such as Tomoki’s infamous solo song, plus ‘Fallen Down’ by Ikaros. Such good music is never hurt to hear it again. The soundtrack is also good, some may be forgotten but once you hear you knew it was familiar.
I love it cast as funny as they can be. They are also lovable everyone of them. Hiyori as the new character has done well as being part of the New World Discovery club, as well as a very memorable character.
This movie have entertained me from start to finish. I enjoyed every second out of it, juicing the orange to it max. The story is emotional enough for me to feel for the characters, and funny enough to made me laugh every few minutes. Oh, just to let you know there is more after the credit. This movie is one of those better ecchi anime genre, and would recommend to give it a try.
This movie I think is well worth the wait, and well worth a hour and 36 mins of my time.
This is by far my favorite anime ever no questions asked. I enjoyed this movie alot even though it’s not its usual happy self. The beginning of the movie was hilarious, but gradually turned more serious through out the movie.
The first half is more of a recap of what’s happened so far but threw the eyes of hiyori and how she reacts and responds to the events that were not shown. First a sudden turn around happens to Tomoki that has never happened to him before. Then a serious twist happens that caused me to go O Shit. Finally the saddest part the ending which again from the expreinces of the show I never saw coming.
I enjoyed this movie very much but like I said is sadder then its normal self.
I give everything a 10 out of 10 except enjoyment which got a 9 because I love to laugh but this was more serious then the rest of the series.
DON’T SKIP THE LAST 40SECS OR SO OF THE ANIME.
Did YOUR favorite anime make the cut? Let us know in the comments below!
1. Strike Witches Movie
2. Sora no Otoshimono: Tokeijikake no Angeloid
3. Aa! Megami-sama! Movie
4. Persona 3 the Movie 1: Spring of Birth
5. Aura: Maryuuin Kouga Saigo no Tatakai
6. Tenchi Muyou! in Love
7. Persona 4 the Animation: The Factor of Hope
8. Tenchi Muyou! in Love 2: Haruka Naru Omoi
9. Tenchi Muyou! Manatsu no Eve
10. Armitage III: Poly-Matrix
11. Armitage III: Dual-Matrix
12. Gall Force 1: Eternal Story
13. Silent M bius: The Motion Picture
14. Silent M bius 2
15. Blue Gender: The Warrior
16. Ai City