Just be brave, everyone, but especially you, Japan.
In 12 episodes, Puella Magi Madoka Magica convinced me that there’s more to Akiyuki Shinbo than otaku-pandering. The director has increasingly been held in high regard, but until Madoka, I’d not taken any substantial steps into his oeuvre. Not even Bakemonogatari coaxed me in, but post-Madoka, I’ve found a lot of new respect for the man.
Experimental and fearless is how I’d describe the series, as not only does it impose a very specific, artsy aesthetic on a subject matter reserved for the hardcore, it also takes a hard-line with its young characters. Much like Bokurano, it never backs down, or allows for an easy way out.
Continue reading “Puella Magi Madoka Abstract Subversion Nyanyan Death”
Teenage girls are a tricky thing to do well in anime. Anime about (and often aimed at) teenage girls is a continually saturated market, making it hard to improve upon. That said, I liked Hanasaku Iroha. In particular, the portrayal of Ohana was intriguing.
Continue reading “This isn’t how I imagined it; Hanasaku Iroha”
When I watch a new show on TV in the United States I watch each show as it is released, one episode a week. Until recently I watched anime in a very different way, I would watch anime after all the episodes were released, usually four or five episodes at each sitting. This led to different viewing experience compared to US shows, albeit one that I did not choose. But marathoning anime is not the only choice anymore. With streaming anime, available hours after the Japanese broadcast, I can now watch Japanese shows in the same way I watch American ones. Now I have to choose which is better, marathoning a show or taking my time to watch one episode each week.