loncarkristina Reviews

Grand Blue Dreaming (2018)

I don't see the appeal.

[2/10 · 8 May 2022]

I got into a discussion about exaggerated female body parts in anime with a friend a few days ago and he told me I'd either love this anime or hate it. Truth be told, I've seen worse.

This anime is mostly about partying, pranking people and diving. The constant obsession with alcohol isn't really that funny and the bickering between Kohei and Iori is pointless and annoying most times. Character development is non-existent and the plot is just a random sequence of events with no particular goal in mind.

It feels as if it has been written by immature adults for immature adults, so no recommendation from me, really.

The Rose of Versailles (1979–1980)

Whether it blooms red or white, a rose is still a rose.

[9/10 · 29 April 2022]

Since the first time I laid eyes on the IMDB cover of The Rose of Versailles, I thought I would primarily dislike it for its animation style. I do not like unrealistically big eyes and glossy colors, but the premise of the story really got me intrigued. To my pleasant surprise, the animation ended up being far better than I expected, and the story got me more and more interested the longer I kept on watching.

Truth be told, the first part of the anime is not as memorable to me as the second. I would, however, call it far from boring; as much as the quarrels of the ladies of the court weren't really my thing, I never found myself wanting to quit. The tension around the Revolution built up nicely on the backs of the secondary characters in the first part so that we could focus solely on Oscar in the second.

And that Oscar, man... Some lady she is. My 21st century brain assumed upon seeing the premise that the protagonist would be the bearer of modern day feminist rhetoric. In other words: weak and incompetent men and an almighty female protagonist whose story doesn't really have stakes. I am so happy to have been proven wrong and presented with a female character my inner kid could say: "I want to be like that when I grow up!"

Oscar is a true heroine. Charisma-wise, she reminds me a lot of Lelouch from Code Geass; they also both have a strong sense of justice that guides their actions in the world. She is quite strong and proud (maybe even sometimes too much), but it doesn't come off as rude since it is nicely balanced by the caring and humble side of her. And the courage... One can be nothing but inspired upon witnessing how quick she is to sacrifice herself for the benefit of the many.

I personally found her struggle with womanhood the best part of her character development. She can bloom in whichever color she wants, as Andre would put it, but she will still, unmistakably, be a rose. Whether she succeeds in conquering the problems within as well as she does without, I leave for you to see; I believe you won't be at all disappointed.

This anime is definitely worth watching; if not solely for Oscar, then for all the history of the French Revolution which is described quite poetically. It is also one of the rare anime whose sub I wouldn't trade for dub; the voice acting is simply phenomenal. Do definitely give it a try, for this forty-episode story is as good as historical anime can get.

One Punch Man (2015– )

I gave up three quarters through.

[2/10 · 30 March 2022]

The show is just so boring and repetitive. Saitama beats everyone everytime which takes away any and all stakes in the story. He is a great character, but he alone can't hold the weight of the show.

Constant fighting and the annoying screaming of the moves makes my eyes roll too much. Monsters are plain one-dimensional villains that pose no real threat, really. I have zero connection to any of the heroes and couldn't care less about them, especially the Muman Rider whose concept is plain dumb.

I'm not going to force myself to watch the rest. Even if the ending is good, it can't justify the rest of this really, really bad anime.

Dororo (2019)

8.4? More like 4.8.

[4/10 · 24 March 2022]

There are some shows that for some strange reason have a rating above 8.0 and still manage to leave me unsatisfied and confused after watching them. As much as I wish it wasn't like that, Dororo happens to fall into that category.

Firstly, Dororo himself (or herself, no clue why though) in my opinion simply isn't a believable character. An ordinary prepubescent kid aged 7-9 just doesn't act as thoughtfully as Dororo does, no matter the trauma they may go through. I really can't stand kids that do moralizing to adults, it completely dissuades me from the notion that I am seeing a kid on screen rather than an adult concealed in a kid's body put there for an extra emotional impact.

Secondly, the story is really repetitive and the magic-key stuff kills all the tension. I thought I understood the magic system halfway through the anime and then found myself disappointed in a few occasions. For example, Hyakimaru riding a fire horse. Where did that come from?

Additionally, Hyakimaru being unable to speak felt interesting for the first few episodes but I ultimately felt disconnected from his character because I knew absolutely nothing about his way of thinking. He just slew the monsters and took care of Dororo; adding one philosophical sentence of "what does it mean to be a human" didn't really do his character any good.

I also found the deus-ex-machina of the old man really annoying. When Dororo's arm was stuck underneath the boulders, I thought to myself how cool would it be that Hyakimaru would have to cut off his arm to free him; Dororo would then understand Hyakimaru's motivations the hard way. As the old man appeared out of nowhere to solve the problem, my excitement just went *poof*.

And the biggest problem of all: the ending that made absolutely no sense. Why did Tahomaru, Hyakimaru's mother and the prosthetics-guy (fundamentally good people) have to die but Daigo was left to live? Why didn't Daigo even try to kill Hyakimaru since he's been so eager about it during the whole show? Why did Dororo and Hyakimaru part ways? I mean, after all, Hyakimaru pointed out on several occasions that Dororo will be the one friend that will remain. Confusion, confusion, confusion.

There have been some good character moments throughout the anime, but nothing significant enough to overwhelm all the negatives. I will not be watching this show again, it really struck me as a waste of time.

Violet Evergarden: The Movie (2020)

Writers, what have you done...

[4/10 · 28 February 2022]

I am, or at least I used to be, a big fan of the Violet Evergarden series. I felt mesmerized by the animation and emotion the it managed to convey, and I felt pleasantly surprised to find out they kept Major dead by the end of it. Unfortunately, there are no words that can express the depths to which my heart sunk when they decided to revive the man in this movie.

I do not understand why the writers thought reviving Gilbert would be a good idea. If they wanted to really do it, they could have at least left the love between Gilbert and Violet friendly/paternal instead of retroactively make it creepy due to the obvious fifteen-year age gap. I know people like happy endings but this was plain wrong.

It seemed obvious to me where Violet should head next in the movie or, perhaps, season two. The original series has her connecting to people and understanding the emotion of love Gilbert conveyed to her. However, it is one thing to understand it mentally, but a whole other thing to reciprocate and actually start giving it away.

Any sort of sequel to the original should have had Violet learn to give love to someone rather than just understanding it. This movie completely skips that step and assumes Violet has somehow learned to do it in the meantime. Not only do I think it is the right path onward for her, but it would also bring the story full circle and complete her evolution to a normal, emotional person.

I am sad to say I would definitely not recommend the movie to anyone who loved the original. Yes, it is beautiful and emotional, as Violet's adventures always are, but that is not enough to hide the obvious lackluster story. Hopefully a season two comes and fixes it, with this film remaining a what if scenario.

Steins;Gate (2011–2015)

The more attention you pay, the more beautiful it gets.

[10/10 · 27 February 2022]

I watched it for the first time in sub, thought it was good. I was slightly confused by the plot mechanics due to the subtitles but the overall story was, in my opinion, well made.

I watched it for the second time in dub and understood a lot more. I started to realize how complex the story actually is, and I managed to piece together all the time travel theory and its impacts on the characters.

I've just seen it for the third time and realized my brain was totally shut off for the first two viewings.

It dawned on me just how important every piece of information given is and that keeping track of all the events in crucial, as mentally hard it may be. This is one of those shows that pays off handsomely for being attentive and rewards you for sticking with it until the end.

Steins;Gate fans tend to point out that quitting the show is allowed only after episode 12 - to which I fundamentally agree. As the show really tries to make you befriend the lab members in the first half, it carefully plants the seeds of disaster that will sprout once you start to care. This is something I realized only upon my third viewing and I felt dumb for ever thinking this show was somehow boring without a lot of action.

The story (including episode 25) is so wholesome and well rounded that it leaves you with a positive mindset and a warm feeling around your heart. It is quite inspiring, in other words; so much that it prompts me to wholeheartedly recommend it to anyone. It gets better with every rewatch, trust me... it is, after all, the will of Steins;Gate.

Wounded Love (2016–2018)

Wonderfully refreshing.

[9/10 · 5 November 2021]

I am not usually the type to become invested in Turkish soap-opera, but this one surprisingly stood out. I started watching it on a local channel three years ago, but they soon cut the series off so I had to stream it. After 120 hours of investment in Azize and Cevdet's adventures, I believe I'm ready to give my two cents about it.

Cevdet and Azize are two halves of the same protagonist and the backbone of this show. No matter how much fate can tear them apart, they are always there for each other and display what love really is about. They may criticize each other, fight, even divorce out of necessity, but their mutual trust never fades and is reflected in their eyes with every dialogue. Absolutely no unnecessary sex and cringe modern-display-of-emotion scenes appear in this show; instead, Halit and Berguzar, being a real-life married couple, pour all of their real-life shared emotion on screen.

Cevdet is such a colorful and a brilliantly portrayed male lead. He possesses outstanding emotional strength when it comes to hiding his double-agent identity and yet he can be so vulnerable when Azize is around. His morals are unbreakable and keep on coflicting throughout the show which makes him very relatable and manages to keep the show interesting throughout its long run. I enjoy watching him display the traditional heroic traits like courage and persistence as well as the grief and despair in times of chaos.

When Cevdet cries, I cry. And I enjoy seeing that kind of raw emotion on screen; it is a rare sight indeed these days. Even more so when Azize comes to lift him up from the grave. Vatanim sensin, or "You Are My Homeland", is rightfully the title of the series.

After being constantly bombarded with themes of feminism from the mainstream entertainment providers, I was astounded how graciously Turkish writers managed to portray the strength of women in this show while simultaneously immersing them in their traditional roles. The primary example of this is Azize, the ultimate mother and the ideal wife of our hero Cevdet. Her motherly love towards everyone around her never stands in the way of protecting her family; it is really intriguing to observe how those two principles clash when her double-agent husband comes into play. She can be very decisive and proud when fighting for homeland as well as modest and humble when bearing sacrifices for her loved ones.

One of the first things that caught my attention in this series is the costumography and ambience in general. The framerate of the show doesn't seem to be the usual 60fps which gives it a slightly nicer movie-like feel than that of usual soap-operas. I don't know whether the show is historically accurate, but I surely bought it; it feels nice to be at least slightly informed about what was happening in modern-day Turkey inbetween the two world wars.

I could write on and on about Leon, Hilal, Yildiz, Yakup, Dagistanli and Tevfik, but I don't have that much time. Every character brings something unique to the show and the common theme of patriotism is very nicely outlined and cherished within each one of them. If you do have the time to devote yourself to 120 hours of love, hate, war and friendship, I warmly recommend you try this series.

Monster (2004–2005)

Too long for a rather disappointing ending.

[6/10 · 20 November 2019]

I started watching Monster after seeing all the positive reviews here on.. after an eternity of 74 episodes, I can safely say this show was not worth it.

Truth be told, it really got me interested at the beginning. But soon after I got attached to Tenma's story, so many characters got introduced and the show just fell apart. Too much time was spent on everyone except Tenma and Johann, the only two characters I actually wanted to know about. The entire story about Johann and Anna's childhood doesn't really make sense up until the very end, and even then not all motivations and intentions are fully explained. The ending is rather disappointing as well, even though it makes sense given the nihilistic philosophy this show is all about.

There are many plot holes and inconveniences that just make the show far less enjoyable. Tenma wants to kill, but doesn't, but does, but doesn't and so on and on. It gets boring after a while and the show becomes repetitive and uninteresting. He meets too many people on his way that are absolutely of no interest to the plot whatsoever, which explains why there are 74 episodes. Also, the nameless monster story was given a lot of attention; so much that it falsely made me believe Johann actually has some supernatural powers... I can't express how disappointed I was to find out that was not the case.

On the bright side of things, this show managed to give me creeps more than once. In fact, I was pleasantly surprised how animation can express horror motives so well. Some of the characters are rather realistic, and the story successfully implements philosophical ideas of egalitarianism and nihilism through the hero-villain bond.

Even though it is majorly flawed, Monster is still a show that deserves a rating above average. Unless you are a really hardcore fan of philosophical thrillers, I'd recommend you stay away from it.

Maleficent: Mistress of Evil (2019)

Mistress of evil?

[4/10 · 21 October 2019]

First of all, I have to say that I am a big fan of the first movie (despite all its flaws), and I am sad to see a franchise with such a great potential be ruined so badly. I wish I didn't have to write this review, but seeing all the positivity being spread around made me want to share a bit of objective criticism.

There are three main issues with this movie that poke my nerve really badly.

Firstly, the trailer and the title. Both are very misleading, luring the adult audience into thinking Maleficent will go through a Joker-like phase and actually do some evil. Well, the evilest thing we got is stopping a cat mid-air and threatening to kill it, as far as I'm concerned. She didn't even kill the queen (who actually deserved it) just because Aurora gets in the way. What evil are we even talking about?

The second thing that bothers me is trying to base a children's movie on war and genocide. I don't know who ever thought of that, but those two things just don't work together. Everything is sugar-coated, and absolutely no realism is presented throughout the movie. Literally no one thought that the two kingdoms could come together except for Phillip and Aurora, the idealistic and naive couple with no experience in the real world politics. (The beginning of the movie is actually a joke that writes itself!) Moreover, the elf that has been aggressive throughout the whole movie suddenly stops after a few kind words from an enemy prince? Give me a break. There are just so many plot incoveniences that stem from trying to make adult themes appropriate for children that it turns the movie into a parody rather than a believable story.

Lastly, the writing is just bad... I can't get over the fact that Maleficent has been guarding Aurora her whole life and the girl decides to believe the queen she met five minutes ago. Phillip is utterly useless, he couldn't even tell the court people that Maleficent doesn't stand iron. Also, remember that curse from the first movie that apparently can't be broken? Well, that is not a thing anymore.

There are few words that can describe the disappointment I felt after Maleficent resurrected herself on the top of that tower... Finally, I thought when she died, there is the plot twist we were waiting for! But no, because the protagonist in a children's movie simply can't die. And together with the immortality Maleficent gained, she also lost a large chunk of her character and future potential. Remember Jolie's expression when Maleficent found our her wings were cut off in the first movie? That scene gave me chills. Now when Maleficent is practically untouchable, it is a question whether we will get a great scene like that anymore.

Let's talk about the queen. In my opinion, she is probably the most developed character in the whole movie. Yes, she may be evil; but her motivation is on point, her hatred towards the moor is justified and the strategy to conquer it almost flawless. She is the only character besides Maleficent that understands the complexity of politics and has no problem putting Phillip in his rightful place. Since this is a children's movie, I honestly expected her to die as well as Stefan did in the first movie, but they didn't even do that... they just turned her into a goat. By the way, Pfeiffer's cold face suits the role perfectly and the costumography is absolutely stunning.

If I had to choose one scene that stuck with me the most, it would definitely be the dinner. Little do we know about the queen until then, but the way she makes Maleficent uncomfortable quickly and clearly lets us know what kind of a foe she is. Angelina and Michelle both did an astounding job portraying their respective characters and it was a true pleasure to feel the onscreen tension between them.

To summarize, Maleficent: Mistress of Evil is a movie that was stripped away from its dignity by writers who clearly do not understand that war is not a theme appropriate for children. As much as I loved the first movie, I wouldn't recommend this one to anyone interested in more than two hours of fun. Hopefully Disney will one day start caring about quality of their movies rather than making money... Such a shame.

Death Note (2006–2007)

I'm glad Death Note was my first anime.

[9/10 · 6 September 2019]

The first time I heard of Death Note was from a youtube channel Hello Future Me and his storytelling analyses. Previously I had resented anime as childish and totally weird-looking, but after Timothy took Death Note as an example of a good story-beat management, I was wiling to give it a shot. And boy, was I hooked.

Never before have I seen any show try to copy that sherlock-ey way of thinking and incorporate it so cleverly with mystery and fantasy elements. Death Note has such an unique feel to it that no other anime has... every moment Light's and L's theme play, I get slight goosebumps while wondering who will outsmart whom next. It is a matter of simple beauty seeing the writers play with the contrast of Light's and L's personality, making them grow close while simultaneously growing further apart. Ant to top it off with so much symbolism and biblical references in the final episode of L's saga is a matter of pure perfection.

Yes, people will say that the second part sucks. Truth be told, even though it may not be equally as engaging as the first one, I wouldn't say it was unbearable either. The fact is that by this point Light is so cornered that he cannot operate on his own; therefore the tension is dissipated towards minor characters and Near that we don't get enough time to care about. Nonetheless, seeing Light maneuver through all the traps Near sets for him provides a proper build-up towards the eagerly expected end.

And about the end... I really felt for Light in those final moments. Part of me didn't want the series to end the way it did, simply because Light was the embodiment of my answer to the fundamental questions of justice that stem from Dostoyevski's Crime and Punishment. As much as I may be a follower of Kira in one part of my mind, I also cannot deny that Near is absolutely right - Light Yagami is just another serial killer; nothing more and nothing less.

Death note is the first of all the animated series that has introduced me with the fact that not all things animated have to have a happy ending. Think of it, how many western-animation movies do you know that do not end on a happy note? Very few would be my guess. And from this time on, my journey through japanese animation has started. I couldn't be more grateful for the way it began and therefore, Death Note will always be the No. 1 anime I will recommend to people new to anime. If you haven't seen it yet, I really do not know what you are waiting for...

... btw I hear the bells. Do you?

Code Geass (2006–2008)

I wanted to watch it for a second time before I wrote a review...

[10/10 · 1 September 2019]

...and now I am one hundred percent positive that Code Geass is my favorite anime, and the only one that truly deserves a full 10 of all of the anime I have watched up until now.

Why is that so though? Probably because it's one of the rare series that is a full package. The story is fluent, adequately paced and nicely rounded. No episode is boring nor lacks tension and every character gets enough screentime for a satisfying arc. The ending is unlike anything I have ever seen before; no series or movie or book had me so attached to the protagonist that seeing his demise would leave me emotionally broken. This series has changed the way I view anime, and for that I am grateful.

The only thing that frustrates me is the fact that I can hardly put into words what makes this anime special. From its background philosophy of freedom, power and war to the psychology of human relationships, it has every aspect of human life covered and wrapped up in visually pleasing animation. Lelouch is the number one character on MyAnimeList for a reason, and my heart clenches every time I remember his motives, actions and sacrifices portrayed on the screen. The show never plays on cheap emotion; it won't try to make you cry by constantly creating heavy melodrama moments just to leave an impact. Instead, it will provide a satisfying plot development before any of the plot twists you (likely) won't see coming.

I couldn't recommend this show enough. It makes me laugh knowing that Sunrise studios expected it to be a flop, when it instead became one of the best anime ever created. Even if you don't find politics and strategies intriguing, I suggest you give it a shot, the same way I did. Who knows? Perhaps one day, you will find yourself thinking the same way I do now.

(And just to leave a non-spoilery remark: The saddest moment of the anime, no matter how crazy this may sound, is the moment when the crowd cheerfully chants Zero's name. Mark my words.)

ALL HAIL LELOUCH!

Anohana: The Flower We Saw That Day (2011)

A bit too much melodrama for my taste.

[22 August 2019]

I find quite cheap when an anime evokes an emotional impact on its viewers by making all the characters cry and pour their souls out to each other... I mean, I could have handled it all if it were dosed correctly, but the amount of melodrama in this anime just exceeds all the appropriate amounts. Yes, the psychology beneath the characters is really complex and well elaborated, but it isn't the sole thing that an anime can stand on. There are also a few inconveniences and plot holes, alongside the fact that the characters feel "love" while only about ~11 years old... like, give me a break.

I do, however, like the animation, music and the way the theme of letting go a deceased one was handled.

Since the accent is on the characters and their relationships, the plot is kinda nonexistent; therefore it doesn't really do it for me. Perhaps you will feel different about it; after all, it's only 11 episodes, you've got nothing to lose.

Mob Psycho 100 (2016–2022)

Really good, but not perfect.

[20 August 2019]

Lemme be short.

Pros: Mob's character development is incredibly detailed and every aspect of his personality (from social awkwardness to loneliness and relationships) is covered in depth. Animation style, although simplistic, results in outstanding battle sequences and effects. The humor is actually funny and rarely feels misplaced.

Cons: You either love or hate the Reigen guy. He may seem all good at heart, but to me it seems that his goodheartedness ends up overshadowed by his manipulative ego. Some of the villains are underdeveloped in my opinion and tend to shift their views rather quickly, making them quite unrealistic. The soft magic system of the espers and their powers just made me feel cheated on some occasions (I am aiming at that brief moment when we all thought Reigen was dead, no spoilers). Also, naming fighting moves before they are executed grinds my gears a lot, even though it is not as annoying as if in Gurren Lagann for example. I wish the storyline was a bit more interesting than an-overpowered-protagonist-saves-the-world, but I guess you can't have your cake and eat it too.

Although I don't feel impressed or touched by it, Mob Psycho 100 is a pretty good anime overall. I wouldn't specifically recommend it to anyone, but I guess it's one of those anime you just have to see to form your own opinion about it. Hopefully, the third season changes my views.

Your Lie in April (2014–2015)

Stop praising it so hard...

[5/10 · 9 August 2019]

First of all, the plot is non-existent. We meet Kousei as a boy that hasn't played piano for a while and then he meets a girl that convinces him into playing it again. Since then, everything revolves around Kousei shifting from a competition to a competition; every time one ends, another comes around, which makes the story pretty repetitive. Yes, the point is to explore Kousei's relationships with music and his friends, but style with no backbone in substance makes the whole anime feel like a bunch of fillers.

Not to mention that the PTSD element of Kousei's character was discarded too fast... no music can erase the fact that his mother was an abusive woman; and Kousei suddenly "understanding" her through music is simply outrageous. Furthermore, Kaori's illness brought about a sickening amount of foreshadowing in the anime. Not that it's a good thing though; at some points I was like, "Yeah, I know you will die, could you please take that fact a bit more seriously?" I will admit I was a little bit disappointed when Kaori ended up being just another fangirl of Kousei's... like, not you too.

There are a few another things that poked my nerve. Firstly, the tone of the anime is a mess (pun intended). It tries so hard to establish a dramatic tone only for some cheap quasi-humorous moments to ruin it. The overly simplistic way of drawing the characters sometimes does end up being funny, mostly it just feels misplaced. Moreover, for a show that starts off on a realistic note, I find it slightly annoying that the characters who play piano on a concert *can think* of anything else other than the score. And what's about that thing when Kousei is totally struck with Kaori being ill, not practicing for a week and then nailing the competition? Really though? Also, the timeline in the anime is utterly absurd. Apparently, the little girl Kousei teaches is two years younger than him, and she looks like she is six years younger. In addition, (although I didn't go to musical school) I wouldn't say that two years of playing would be enough for an average violinist to learn to play as Kaori did.

However, there are some things I did like. The recurring cat motif did a nice job complementing Kousei's character, and the effect of the notes disappearing felt quite surreal. The dynamic between Kousei and his best friend was really well described, and I actually felt sorry for the girl not being able to properly express her love and find an exit out of the friendzone. The teaching part was also very enjoyable, as it was depicted as an experience that resulted both in Kousei's and the little girl's character growth.

All in all, it is my opinion that Your Lie In April is a heavily overrated anime. It tries to appeal to the viewer using the beauty of music and tear-inducing emotions, but the fact is that it's a mess storytelling-wise. I've seen some people compare it to Violet Evergarden, but I assure you that it's nowhere near it, and I definitely wouldn't recommend it further.

Neon Genesis Evangelion (1995–1996)

A well developed story that ended up tangled in a web of philosophy.

[6/10 · 2 August 2019]

My heart is breaking right now, having to write this review, and give it less than it would deserve than if it hadn't been for the mess of the last few episodes. Often I found myself shifting between a 7 and and an 8, so bear with me while I explain why I rated it the way I did.

Since the STORY is the most important part of a good anime, I'll address it first. Since the beginning, it was obvious that the story was to revolve around Shinji finding his purpose within the new world of the angels and evangelions. With every new angel came another problem, and with it, a new chance for the characters of Shinji, Rei, Asuka and Misano to develop their personalities and relationships. As Misano herself says at one point, evangelions are a curse that makes everyone who comes in touch with them perish; and that did indeed happen: from the light-hearted characters we met at the start, they all slowly became consumed by their own insecurities and existential problems. This is where the philosophy of the anime started developing. Not to say it wasn't implemented well; however, at the end of the anime it became so strong and prevalent that the story couldn't be brought to a definitive ending. As much as I value a philosophy lesson well done, I cannot wrap my mind around the fact that the story suffered under the execution of its philosophical ideas. Sadly, all I was left with at the end was a bitter feeling of confusion.

Moreover, the introduction of the fifth child at the very climax of the anime made no sense: nor could Shinji develop a believable relationship with him in such a short time, nor could the viewer connect to him as he did with the main four. In my opinion, he just came out as a guy that came out of nowhere, seduced Shinji, spat out some nonsensical philosophy at the moment of his death and... I don't know? Sacrificed himself for what exactly?

Moving on to the CHARACTERS. This is one reason I really liked this series, the amount of detail that is put into their development is simply astounding. The one character I could feel for the best is Misano, the NGE's version of FMA's Roy Mustang. So responsible, serious and motivated, yet so funny, quirky and loving at the same time; she is one of the most coloured characters I have ever seen. The dynamic between her, Asuka and Shinji is an utter pleasure to watch; the only thing I regret is not knowing how she actually ended. Asuka, on the other hand, is a real nightmare of a human being: so full of self, arrogant and self-centred; she was created to be hated so that the viewer could later on understand her and show her some compassion. As much as I wanted to detest her way of thinking, I actually found myself relating to her in the way of finding meaning in life through others' perception. As for Shinji, it can be clearly felt that his character made a 180 after the evangelion went full berserk-mode. Although it was quite brutal, I felt it was a rather interesting way to push his character arc in the right direction. The only thing that bothers me is the resolution of his physical character; I mean, we know he "decided he is worthy" at the end, but what then? Is that it? All in all, a real pleasure to watch.

Additionally, the animation and character designs are absolutely fitting and nicely correspond to the personalities of the characters. The classical music adds a special touch to the anime and the OP is surprisingly catchy. The lore is well explained and nicely entangled with the main storyline, which makes it easy to follow.

To sum up, Neon Genesis Evangelion is a well developed story, strong on the characters and ideas, but weak and confusing at the ending. I can understand why It is considered a classic; however, I don't think I will be coming back to rewatch it. For all of you that enjoy good character developments and existential philosophy, give it a go and you just might find it enjoyable.

The Garden of Words (2013)

The first anime movie I will remember.

[9/10 · 1 August 2019]

None of the famous anime movies like Your Name, A Silent Voice nor Spirited Away have left me in awe as this one. So short, yet so beautiful and touching. Some say its characters are underdeveloped, but I say that I had never felt for a character more in 45 minutes than in this movie. Even if I'm wrong, it's worth seeing for the artwork and the music only.

Would definitely recommend to anyone and will be watching it again one day.

Samurai Champloo (2004–2005)

A great story, but the ending feels off.

[7/10 · 26 July 2019]

A great story, but the ending feels off.

Firstly, I am not a Cowboy Bebop fan... but this does put a smile on my face.

There is no doubt that Samurai Champloo is a good anime. From the very start, characters and the story are well defined, and the idea of mixing 19-century samurais with hip-hop culture is rather well executed. The dynamic between Jin, Mugen and Fuu is very interesting and funny to watch, with the two swordsmen constantly being each other's opposite. The development of the story is quite fascinating: the main goal is always to find the Sunflower Samurai; however, everything that happens to the trio on the way is a result of them trying to find some food and get some rest. Some of the plotlines felt too real, as the matter of a fact, and the themes of violence, slave trade, gambling and promiscuity definitely provide the show with an appropriately dark undertone.

On the-not-so-bright side of things, the last few episodes could have been done better. The show is all great and realistic up to the twentieth episode when I-do-not-know-what happens; and the baseball filler kinda ruins the tension we are supposed to get at the climax of the story. The character development is also a bit lacking; we know what Jin and Mugen are like from the very start, but little do we get to know them throughout the whole series. Also, how many cuts and bullets can one samurai take before they die? No spoilers here, but that question ruins the ending for me personally.

All in all, give it a go - if not for the story in general, then for an entertaining and realistic way the 19-century Japan is presented.

Parasyte: The Maxim (2014–2015)

Once on Earth someone had a passing thought: that all life is sacred.

[19 July 2019]

But what happens when humans, the race that has always been on the top of the food chain, becomes challenged in that fact? Does life of an other being matter less than your own, or are morals the fundamental thing that will keep you from turning into an animal?

The series follows a young man, Shinichi Izumi, whose right arm gets infected by an intelligent parasite with metamorphing abilities. As he learns to coexist with this creature, he finds out that he is not the only one, but that there are others infected. However, their parasite took complete control over their human hosts and now they pose a threat to society due to their cannibalistic nature. Trying to balance his school obligations, social life and his role in the ongoing parasitic threat, Shinichi slowly starts to question all the moral views he used to have in order to adapt to the situation and secure humanity's survival.

In my opinion, one of the main aspects of a good story is its villain. For that matter, in Parasyte, two entities stand out: the parasite-turned-human Reiko Tamura, and Goto, the parasite-boss. Since physical strength of a character isn't as appealing to me if none of his wits are used, I will have to say that Goto failed to deliver as an interesting villain. The fact that he is invincible surely does make a lot of problems for Shinichi, but I do not find his eagerness to slay the human population at all convincing or relatable. Reiko Tamura, on the other hand, is far more layered character and the one I actually felt kinda sorry for at the end. Her character development is almost as believable as Shinichi's; starting from the point of pure curiosity, she examines humans as up to the point of conceiving a human baby in her own body. Thinking she will never be able to change, she experiences motherhood, one of the most powerful forms of love in the world. She cannot comprehend the emotions she starts to feel, but she also doesn't fight them, and allows herself to evolve beyond the pure logic of a parasite. The scene of her death was really well done, and probably the only time in the series I actually saw the human kind as the bad guys.

The story itself is unfortunately very repetitive, and that's what bugs me the most. It is noticeable that, every time the plot settles, Migi recognizes one of his kind, just stronger than the enemy they have previously beaten. They then proceed to eliminate the threat, either by using some sort of a smart trick, or by realizing that Shinichi has gained some new powers (and splashing some parasitic exposition on us in the process). By the time they get to duel with Goto, it becomes a little bit boring. Since Reiko Tamura is the only villain that doesn't succumb to that pattern, she becomes more interesting in the eye of the viewer; and due to the complexity of the villains mentioned above, I believe the quality of the plot itself drops after the death of Reiko Tamura. The romantic subplot of the anime is rather annoying because and the girl Murano resembles an ordinary high school cliche girl for the most part of the story; she never seems to display any sort of believable interest in Shinichi's well-being up until the last episodes of the anime.

The protagonist, Shinichi, has one of the best character developments I have ever seen. Starting from a naive and socially akward nerd, the parasite infection slowly makes his thinking become cold and logical, and thereon forces Shinichi to walk a thin line between his inborn humanity and parasitic bestiality. The process of change is really smooth, and it can clearly be seen that a part of Shinichi's humanity dies with every person that gets killed by a parasite. At the time of Reiko Tamura's death, it actually becomes a relief to see that he is still capable of mourning another person. The only thing I do not understand about Shinichi is actually Migi; it felt rather weird that Migi is all of a sudden willing to sacrifice himself for Shinichi when throughout the whole anime he keeps saying he doesn't understand Reiko Tamura's actions nor human feelings. They should have given him a bit more development in order for the viewers to see that the friendship Shinichi and Migi share isn't only one-sided.

The philosophy of this anime is based on the value of life, as the title states. As Shinichi is torn between the choice of taking other parasite's lives and preserving his own, this question gets elaborated through the various well organised monologues in Shinichi's head. Aside from that, Murano also implicitly contributes to the development of humanistic philosophy. "Are you Shinichi Izumi?" may have been the line that felt very odd and annoying at times, but it is fundamental for the viewer and the protagonist himself to repeatedly question ourselves whether we had lost our ability for compassion; either for the little dog that died in the street, or for other human beings that surround us. Lastly, I have to say that the scene of the alleged-parasite-mayor getting shot after his speech about the malice of humans does a great job of shocking the viewer... because not all friends of our enemies are our foes.

All in all, Parasyte: The Maxim is a well done show. With the tension of Psycho-Pass and the musical feeling of Death Note, it successfully manages to present an interesting plot with a well developed protagonist. Give it a try, and you might find yourself appalled.

Spider-Man: Far from Home (2019)

Endgame can kneel before Far From Home.

[10/10 · 16 July 2019]

After the disaster Endgame was (in my opinion), I went into the theatre expecting absolutely nothing from this movie. I was ready to witness another example of a tangled storyline, character arc mess and ever-apparent fanservice, but I came to realize this is one of the best movies I have ever seen. Watch and learn, Russos!

The storyline is pretty simple and straightforward: Spidey travels to Europe and our villain, a cunning ex-Stark employee and visionary Mysterio, uses his wits to make Spidey give him "Edith" to try and make himself a hero in the eyes of the people using holographic projections. However, Mysterio is not the only problem Spidey has to tackle, but also his growing relationship with MJ and the whole entirety of the school trip.

This movie's villain, Mysterio, is simply stunning. You know that he is such a well done villain when it takes half a movie and an unfortunate event to reveal his intentions and identity. Even though the snap offered a wide variety of possibilities to bring a villain from another dimension, I am extremely glad that the director decided not to do it. To have brilliant ex-Stark employees round up and take Tony's place in the Avengers is an idea as original as it can be. And Jake Gyllenhaal simply nailed the role.

No other Spiderman movie had me feeling simpathy for Peter Parker like this one had. Peter is so confused and entangled in school, relationships, his hero role and in being the heir of Iron Man that it's simply astounding how the director managed to balance all the four sides of him without confusing the viewers. The absence of Tony Stark is clearly felt in the post-snap world, and all the burden of his legacy fell down to a boy who has to answer the big life questions while being only 16 years old. From crying to making big, world-threatening mistakes and getting beaten to the ground, Peter suffers a lot of trauma and yet manages to rise again and use nothing but his wits and instincts to beat the enemy. And that is, ladies and gentlemen, a true hero, and a great plot.

The dynamic between the two is remarkable. I had previously known that Mysterio is the villain, but up until the end of the first half of the movie I was questioning whether he is actually the good guy. Never have I seen a villain that can beat Spiderman so easily and that is yet so realistic. It took all of Peter's power to beat him; and even when Peter thought he did, Mysterio outsmarts him once again. And I won't even start with the dream sequence... I could talk all day about that.

The side plots regarding the school trip are a great comedic relief and the romance between Peter and MJ isn't forced at all. I can say I was relieved to feel no cringe in their interactions, and I was rather surprised that the writers decided to adjust MJ's character to what would appeal to younger audiences. It worked.

To sum up, this movie is all about illusion, and despite that fact, you won't exit the screening feeling fooled. It's quite the contrary; I believe this movie is one of the most original ones Marvel has ever produced. You don't have to know Spiderman at all to be able to follow the story, so just sit back, relax and enjoy these two hours of absolute perfection.

Avengers: Endgame (2019)

A long, overhyped disappontment.

[5/10 · 16 July 2019]

When the movie came out, everyone was screaming how great it was. Rotten Tomatoes gave a >95% fresh rating, and IMDB's scores were revolving around a solid 9. Therefore, my expectations for this movie were set very high; since Infinity War was great, I was absolutely sure the Russos will be able to masterfully untie this giant gordian knot of a plot... and I was dead wrong.

The first and the main thing I cannot come to terms with in this movie is the story, aka the resolution of the complex situation Infinity War has set up. I can clearly remember the awe and the sense of disbelief I felt at the end of IW, and had wondered how could they possibly resolve this mess they have trapped themselves into. The answer is: in the pretty much cheapest way possible - by time travel. And I am very sensitive to time travel stories. I wouldn't mind if they had had used the power of the time stone to trample with time, but to come out of the quantum realm by accident and hand everything to Tony Stark who will *magically* invent anything that is needed - is simply a terrible way to fool the viewers. Not to mention that the Russos themselves have confirmed that everyone snapped is actually dead; and that kind of straightforward lying pisses me off.

Ok, we are time travelling. From then on, one plot diverges into five, read FIVE different plots, and guess what? The chance of success for retrieving each of the stones is 100%. Why? Because they are the Avengers, duh. They are bound to succeed! (Note the sarcasm.) Moving on: how does one expect to thoroughly explain the time travelling theory in a course of a single movie (that is actually the end of the franchise)? YOU DON'T. It took Steins;Gate 25 episodes to establish a way of time travel that actually holds water (and it way actually the central theme of the anime), people... What were the Russos even thinking?

Discussing the beautiful mess of the character arcs: Let's start with the Internet's favorite hero, Iron Man. As the matter of a fact, I liked the way his character was resolved: he evolved from being self-centered, paranoic and egoistic to a guy who is ready to put his life on the line for the whole world (even though not really wholeheartedly). I will say that his arc is one of the best, if not the best in the whole franchise, so this kind of end fits his redemption arc perfectly. On the other side of the morality spectrum, we have my personal favorite, Captain America, whose end is probably the second biggest mistake this movie has made. Think of it this way: What would be the nicest ending Steve could possibly get? Well, a life with Peggy, of course. And what do we need to get to Peggy? Time traveeeel (with holes in it's theory, aka no grandfather paradox). So simple that it hurts me to even think of it. To be honest, the only satisfying way to end his story is to make him die together with Tony, and to mend all the bonds broken a long time ago, in Civil War. On the bright side of things, it was nice to see him lift the Mjolnir... after all, if he is not worthy, who is? Probably the biggest disappointment of them all was Thor (I would add "the god of thunder", but that thing I saw on screen looks nothing like a god). I never really paid attention to his character; he was always good looking, witty and powerful, with the humor always being his strong side. Now, he is reduced to a grotesque-looking drunk man that cures his depression by playing Fortnite and does absolutely nothing to redeem himself for not aiming for the head. I understand the "boys can also cry, getting out of the depression" trope, but the way it was handled is simply abhorrent. All that has left of Thor are some cheesy one-liners and pop-culture references that will get only the 11-year-olds laughing, nothing else. The only characters I felt were done absolutely right are Clint and Natasha. Clint, in contrast to Thor, actually does something "useful" to relieve himself of the post-snap burdens, and Natasha is there to help him get out of it, as a true friend would. Knowing that they get to fetch the soul stone together broke my heart even before I knew who was supposed to die. I felt more sorry for Natasha than for Tony, actually... Rest in peace, Black Widow, you will be remembered.

I would also like to adress the Thanos confusion. Can anyone tell me, how was I supposed to feel after the first 30mins into the movie when Thor totally anticlimactically cut Thanos' head off? This was the first indication to me that the movie will suck. I would have gladly cheered for the innovative way they have swapped Nebula to screw with the team's plans, but since it is a nice way to complicate a bad time-travel plot, I gave up the idea.

To sum up, Avengers: Endgame is a disappointing ending to a well built franchise. I have seen the movie only once, and I regret to have to say it felt worse than The Last Jedi. Most of the character arcs felt off, time travel ended up being quite inconvenient and the only thing worth remembering is a bunch of fanservice moments. It doesn't deserve to surpass Avatar at the box office, and the re-release of the movie with some deleted scenes is rather shameful. For all the fanboys who praise this movie, I regret that you do not know better. Bye bye Russos, and please do not touch Marvel again!

Cowboy Bebop (1998–1999)

As overhyped as as a series can be.

[3/10 · 15 July 2019]

Seeing an almost 9 star rating on IMDB, I got myself thinking: "Boy, this must be an awesome show!", and the feeling of excitement lasted... well, probably for the first two episodes. As the matter of a fact, I had to force myself to finish it, thinking "the classic" will somehow justify it's high ratings... Yeah right.

Yes, the music is great. Yes, the cowboy-ish themes of gunshots, cooleness and chill are well done. But the fact that the plot in this anime is non-existent makes every other aspect of the show less important. There are probably only four to five episodes that tell the story of the main crew, and everything else seems like a giant filler that is rather inconvenient at times. And I cannot emphasize enough how irritating the endings of some episodes are! Someone gets shot, the episode ends, and he's right back alive and well on the next episode... what?

However, there were some things I did enjoy. Ed is such a sweet source of humor that he got me giggling at times, and the references to Earth in the 2000s (like the VHS tapes) had me feeling nostalgic. The last two episodes are very well done; however I feel that some of the bounties the crew chased would make a better villain than Vicious.

All in all, if you have no trouble watching a jazzy-cool-thriller anime with no actual plot, just go ahead. On the other hand, if you want an anime that will sweep you off your feet with a good story and character development, go watch Code Geass... that one is not a waste of time.

Psycho-Pass (2012–2019)

An impressive blend of crime, psychology and philosophy.

[9/10 · 10 June 2019]

There is probably nothing I like more than stories that further develop and question sociological and philosophical ideas of freedom, justice and prosperity. And when the concept is entirely turned around like in this anime, it is bound to get me interested. "What would happen if our society was ruled by an allknowing device that judges who is bad and who is good?" is the question this anime answers, and it does it very well.

To start off with the negatives... I didn't feel like I wanted to continue watching after the first few episodes. In the beginning, a lot of exposition gets splashed at you, making it a bit hard to follow and slightly confusing. The good thing is though, that the protagonist Akane is just as confused as you are, and you get to experience the conflicts in the story together with her. I was also put off by the gory presentation of how the main weapons in the anime work, thinking it was a bit too exaggerating for an anime focused on solving crimes. However, once you really start to grasp what kinds of twisted things happen in the background, the gore of the weapon is the last thing that troubles you.

And now the good parts. The writers did an outstanding job in evolving Akane's character. Through interaction with her fellow colleagues, both inspectors and enforcers, she questions her job, the validity of the system she had sworn to serve and her own purpose in this world. At the end of season one, on the very last scene, I believe you will find yourself extremely satisfied with the way the story has done a full circle and with the way Akane has developed into a respected inspector.

The villain? Picture The Dark Knight's Joker; remove the silly costume, add more philosophy into his criminal intents - and Shogo Makashima is born. The same chills you get by watching Heath Ledger's performance will pass through your spine once again, perhaps even slightly amplified due to the fact that this show doesn't hold back on gore. However this time, there will be no one who can pass judgement on Makashima; and that is the spark that lights the fire of this anime.

This is the first crime-related anime I've seen, and I can say I am satisfied with the way it ended. And should you be interested in answering the question above, or just want to find a nice way to spend your in-front-of-the-screen time, I will recommend it to you. Enjoy.

Violet Evergarden (2018)

A non-battle anime that will sweep you off your feet.

[9/10 · 26 May 2019]

When I first saw this anime on IMDB and MyAnimeList, I was consfused how can something so short and so new be so well rated... So I gave it a go, and I wasn't disappointed at all.

*Minor spoilers ahead* Violet Evergarden is a mysterious girl brought up by a military officer major Gilbert to serve as a weapon of war. At the very end of the conflict, when the major sees no way to survive the current situation, he says to Violet that he loves her. The only thing she knows next is that she wakes up from a coma four months later with battles nowhere to be found. Completely cold and emotionless, she has to find a way to adapt to her new environment and to discover the meaning behing the major's last words.

I'd say I am quite new to anime, and the one thing Violet Evergarden managed to surprise me on is the absolute lack of any battle-induced tension in the story. Yes, there are some flashbacks including war, but none were long enough to be considered an actual action sequence (at least I'd say so). Basically, the entirety of the show consists of believable human interaction and character development.

The very idea of 'love backwards', as I like to call it, is unbelievably beautiful and refreshening. The concept of admitting love (perhaps even not a romantic one) to someone who has yet to discover what love is an interesting one and provides a fruitful ground for Violet's character development. The series manages to balance the present and the past events with no problem at all, making both Violet's present and past psychological changes even more apparent. Moreover, it is very nice to see that no romance was forced and that no cliche resurrections were made to ruin the plot. Not to mention how well established the lore was; not at all complicated to grasp, and yet quite believable, with the job of auto-memoir-doll being very conceptually interesting. All the characters Violet serves allow her to grasp different shades of emotion she didn't know before, and while doing so, I felt being emotionally educated myself. I will admit it made me tear up a couple of times.

Regarding the technical stuff, the animation is incredible and a pure pleasure to watch in HD. No plot holes can be found and the music is just right. The only thing I do mind is, however, the pacing; the time skips in some of the episodes made me a little bit confused... Nothing serious nonetheless.

To sum up, Violet Evergarden is a show I would definitely recommend to anyone. Even if you don't feel like non-action genre is for you, I'd suggest you sacrifice six hours of your life to see what It has to offer. Beautiful and touching, I have no doubt it will make you feel like never before.

Gurren Lagann (2007)

The most childish show I've ever seen.

[2/10 · 26 May 2019]

First of all, I'd like to thank IMDB crew for declining my first review of this show because it really took me some time to realize how much I dislike it.

*Minor spoilers* Now then... The series follows a young boy, Simon, who grew up in an underground civilisation only to find a mecha while digging through dirt. He finds out that the mecha is very powerful, and uses it to fight the Spiral King who forced humanity underground in the first place.

Let's start with the good things first. To begin with, the animation is quite good and some character and mecha designs are very well done. However, the only character I found particularly likeable is Leeron; strange and weird-looking at first but extremely humorous and a true MVP later (as long as we stick to the believable parts of the series). Not gonna lie, the idea of spiral power is unlike anything I've ever seen before, and so is Kamina's macho-energetic spirit. Unfortunately, these bits and pieces are the only thing that kept me from quitting before the end of the series.

On the other side, there are many flaws to this show that anyone who's 14 or older could recognise. First and foremost, the show starts to feel really boring and repetitive right after the first few episodes, simply because the good guys never lose. The endless cycle of encountering a problem to jumping in a mecha and screaming names of special moves very quickly becomes dull and frankly annoying. Even when the crew stumbles onto a big problem, there comes Simon and unleashes some great amount of spiral power from within himself, and of course, slays his enemies. They never face any real threat and it's what makes the show most uninteresting.

If you come looking for character development, you will leave disappointed as well as I did. Simon appears to be growing up; however, the is still as reckless as a child and Kamina always remains the one person he always strives to be like. Imo it's not a bad thing, but when it serves Simon as an undying source of his power, I will say it is badly used. Furthermore, I never got to catch any character development of the poor Yoko... just the way they sexualised her character made me unable to grasp any other prospect of her personality.

The story itself is, as I already mentioned, repetitive. The only thing that changes is the scale of attacks and the virtual 'odds' of survival that you already know are in Simon's favor. The lore of the spirals is well imagined, but since it is a soft magic system, very flexible and prone to plot holes. The alleged bittersweet ending didn't touch me at all, as the matter of a fact, I was glad that something actually made sense in this mess of a show.

All in all, I wouldn't recommend Gurren Laggan to anyone, unless they are <10 year olds. And even then I would think of better shows before I do so. Just be nice to yourself and go rewatch Code Geass... at least that's one you cannot regret spending your time on.