It’s a common story. A Saturday night, no plans. What do I do? Seek out a new anime to watch, of course.
Young women with gun skills? Check. Mysterious organization that runs the world? Check. Quasi-religious mysticism? Check. Noir only lasted one season, but if you started watching Madlax and thought it was Noir Season 2 I wouldn’t blame you. Madlax isn’t a complete copy of Noir, it does tread new ground after about 20 episodes or so. And the new material is innovative in its own way. What ultimately holds it back, what has held many other shows back over time, is that it still feels too much like a rehash of what came before, rather than something fresh and entertaining.
In alot of ways, what keeps a longer manga engaging isn’t its main characters, but the side characters. Though our initial emotional investments as readers are in the main characters, the supporting cast and their links with those main characters are what keeps the story fresh.
One thing we may deduce about author Mohiro Kitoh from Bokurano and Narutaru is that he probably had a few bad experiences growing up.
It’s otherwise very difficult to understand why his stories about children are quite so fucked-up. Case in post, Narutaru, of which I just finished watching the anime adaptation.
About a week ago I posted that 2011, for all its problems, was a stable year for anime. It turns out that stability was short lived. In an interview with Justin Sevakis and Chris Macdonald on AnimeNewsNetwork, Bandai Entertainment President and CEO Ken Iyadomi announced Bandai’s decision to stop licensing and releasing shows. Some bloggers (including Charlie Maib from Kotaku via Japanator) have suggested that piracy killed Bandai. But if you look at what Iyadomi said, I think it’s more likely that Bandai Japan is to blame. And not blame in a bad way, blame in the sense that Bandai Japan (full name: Namco Bandai Holdings) made a rational business decision. It decided, maybe prematurely, to protect its profits and let mainstream fans get anime digitally.