Barbie Film Review

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Director:  Greta Gerwig
Writers:

  • Greta Gerwig
  • Noah Baumbach

Based on:  Barbie by Mattel
Produced by: David Heyman
Cast:
Margot Robbie
Ryan Gosling
America Ferrera
Kate McKinnon
Issa Rae
Rhea Perlman
Will Ferrell
Cinematographer: Rodrigo Prieto
Editing by: Nick Houy
Music Composers:

  • Mark Ronson
  • Andrew Wyatt

Production Studios:

  • Heyday Films
  • LuckyChap Entertainment
  • NB/GG Pictures
  • Mattel Films

Distribution by: Warner Bros. Pictures

Production Budget: $128–145 million

Box Office: $1.345 billion

Barbie is a film based on the popular Mattel brand figurines from the late 50’s to, well, today!. The Barbie brand has been an inspirational toy for so many over time. I was astonished that a Hollywood film hadn’t been made until now,. Director Greta Gerwig’s sugar-coated take is everything we need in our world today. Writers Gerwig and co-writer Noah Baumbach utilized a story as old as time itself, as with the Greek myth of Pygmalion, and modernized it with the Barbie branding. Now, if any of you don’t know the story of Pygmalion, the myth is about a sculptor that sculpts a woman personified as perfection, ultimately ending with his falling in love with it. Gerwig explores her vision of Barbie to greater depths with the myth of Pygmalion as the fundamental foundation for actress Margot Robbie’s Barbie character. In the Greek myth, the goddess Aphrodite (in the scope of the film as represented by Mattel and its initial creator Ruth Handler) turns the statue to life. In this film, the toy box you see in the Mattel conference room is very much in line with the stone Pygmalion sculpted. it is a world unbeknownst to these women and men of Barbieland that they have been confined to. Barbie explores perfection idealized in a pink-adorned utopia exaggerated (visually throughout and highlighted by the film’s costuming) through femininity escapism. While Barbieland represents an expression of personified beauty and engages in a world built for Barbies of all ethnicities and body images, the dreamscape utopian land represents that life should be accepting of everyone. Margot Robbie portrays the stereotypical Barbie living a rose-colored life with parties amongst the heroes of [heir] today’s world matched with visually stunning musical numbers to boot. 

 

Numerous Kens also live in an area of Barbieland known as Beach. The Kens, much like the Barbies, of all types, are ‘plastically’ fit and overtly enthusiastic. Carrying the weight of underlining desperate men striving for manly-hood and affection are the the themes are woven throughout the film, to its final arc of the story. Speaking of Ken, this film isn’t just about female empowerment but understanding who you are as an individual and what you want to be as a person. What is it that make you, you? While stereotypical Barbie is having an existential crisis after learning of her own doll’s owner carrying heavy burdens, this film playfully (through song, dance, set and cinematography) captures Ken (portrayed by Ryan Gosling) experiencing something very similar to Barbie. He struggles with the kind of man he wants to b, but not just for him, but for Barbie as well. Let’s face it, in his own mind, who is he and what would his world be like without his Barbie? This is a nod to the classic doll figures in our own real world by breaking down the fourth-wall (especially thanks to the narrator’s commentary on beauty and Margot Robbie). The idealization of the doll is a plastic emblematic beacon of beauty and hope.

 

Gerwig’s graceful nod to sexualized behavior is all but comically delivered throughout this film. Barbie and Ken never kiss. Ever. Their ‘adult parts’ are added to humorous child-like effect, and while Barbie and Ken are the key couple of the story, it isn’t the story for them. Ken learns of the real world struggles he holds in his dreamland (self is much different than what he witnesses in this new world) and in his journey of self discovery. The patriarchal dominating man: Men in suits and glorified muscular mentality—the macho man—embodies the real world. Ken, to his amazement, yearns to carry that domineering prowess to Barbieland in hopes that he can become a man accepted into society, and even more importantly, be seen by Barbie as a man. However, what he learns is much more than just his myself as a man and his horse (literally and figuratively); he learns that becoming a man isn’t the view of societal expectations but the expectations of what he wants to make of himself. What would make him happier for himself? He is “Kenough” and being enough is all that he needs, even without the Barbies of the world. In the final moments of the film, we are presented with a deconstruction of gender norms and what we are left with is a coming-of-age tale of self-respect, beauty, and adding value to your life. 

Overall Impressions: 95/100 

 

 

 

 

Pompo the Cinephile

Anime Films Completed, Ratings 90-100,

PLOT: Operating out of the movie capital “Nyallywood,” Pompo has been shooting one B-grade entertainment flick after another that anyone would enjoy. One day, Pompo’s “movie buff” assistant Gene spots a new script written by Pompo, and is moved by its exquisite story. However, Pompo tells him to direct it. Thus, Gene takes on his first directing gig. Meanwhile, Natalie, an ordinary girl who just arrived in town with movie actress dreams, has been discovered by Pompo.  ~ANN

Animation Production: Studio CLAP [ Animation Production on the following works: The Tunnel of Summer the Exit of Goodbye / Animation Production Assistance for feature film BELLE]

Director:

  • Takayuki Hirao (Director on the following works: Futakoi Alternative, Garden of Sinners films, GYO: Tokyo Fish Attack, Mahou Shoujo Sisters Yoyo & Nene / Spy X Family Storyboard, Director, Art Supervisor, and Color Script for ending sequence / Director for Texhnolyze’s opening sequence)

Script: Takayuki Hirao

Storyboard: Takayuki Hirao

Music: Kenya Matsukuma (Black Clover OP composition [OP2, OP9, and ED3] / Occult Academy OP Composition for OPs 1 and 2])

Character Designer: Shingo Adachi (Character Designer for the following works: Galileo Donna / Sword Art Online / Director on Lycoris Recoil / Key Animator on Princess Principle)

Art Director: Miu Miyamoto (Background Artist for the following works: B The Beginning / Black Clover [at Studio Rufus] / Candy Boy ONA / Classroom Crisis [at Studio Who and subcontracted at Studio Rufus for episodes 3,4, and 8 through 12] / Demon Slayer [at UFOTABLE in-house] / Eden’s Bowy [at Studio WHO] / Fate/Stay Night Heaven’s Feel III / Fuuto Pi [subcontracted at Studio Rufus] / Geneshaft / M3: Sono Kuroki Hagane / Mushoku Tensei: Jobless Reincarnation [Background Art and Art Director] / The Promised Nederland Season 2 / The Tatami Galaxy / Weathering with You film)

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An idiosyncratic film under the direction of a strongly creative director—-Takayuki Hirao. A little bit of history surrounding this film before I dive right into the content. Around 2017, Hirao was requested by Bandai videogame producer Yusuke Tomizawa about developing a film adaptation of a Pixiv manga series that he believed would suit Hirao’s style. Eventually this worked out because during this time Hirao was working on a novel with Shingo Adachi’s illustrations, and the publisher was Kadokawa. Both whom ended up working on Pompo — Adachi as character designer, which many of you might know his work as the character designer of Sword Art Online and Kadokawa went on to become the main financial backer for the film.

This one is a knockout as a cinematic experience—I really hope that this film garners enough attention because Pompo is the exact kind of film that reminds me that animation works like this one especially when the film’s story holds a variety of influences (much like the TV series Space Dandy held onto) isn’t a normal trend in the industry much anymore. You can really get a sense of how Hirao’s creative freedom was brought on by his predecessor Satoshi Kon. Pompo in my opinion, carries that same level of energy—a sharpness in the quick thick lines and then in the next few frames some of the film’s main characters specifically Gene and Nathalie Woodward contain wacky and very stylish expressions. Considering how well edited this film is and one has to wonder if Hirao is very much Gene himself. The animation doesn’t shine as much as series like Demon Slayer from UFOTABLE or Jujutsu aisen from MAPPA because it’s on a vastly different level—creatively open and unique. A seamless flow of well timed cutting and framing that is obtuse and well-crafted. Perpetuating the flair of this series bombastic and wildly aggressive animated integrity. The film is also complemented with stellar voice acting— establishing the central focal point that its conveying to the audience. Achieving your dreams and capturing the moments that matter.

In the story, Gene is set on making THE film that will make this happen however he doesn’t want to outshine his mentor—-Pompo. She’s an active and highly rated film director and producer that had made her mark with films of wide acclaim (carrying dozens of American and Japanese tropes in its commercialized marketing). The nice thing about this film is it allowed the film’s director, Hirao to unleash his potential both as an animator (as during his start of his career had a tough experience at Studio Ghibli) and as a director to expand his creativity resulting in a film that is messy, cheerful, bleak, and empowering—a story centered around filmmaking. The tour de force about this film is it’s attention to detail—the visual presence pays respects to classic Hollywood films that ultimately inspired the kinds of films that went on to be recognized at an academy level (Oscars, etc.).

Pompo also reminds us how tightly strict and difficult the anime industry is—much like TV anime’s Shirobako presented us a perspective on how anime gets made (in the framework of television broadcasts), this film depicts a timid editor that wants to step outside the bounds of his career and craft a story (with the help of Pompo’s writing) in order to capture that moment for audiences and in this case specifically bring the hotshot producer-writer Pompo to greater heights as both a film creative and a film cinephile. (Hence the title)

It’s extremely fitting how fourth-wall breaking Pompo the Cinephile truly is. Clocking in at 90 minutes (just as Gene’s edited film turns out to be) drives home how personal this film is about creativity within cinema. As much as I wanted this film to be longer, diving into the hearty details of film production at its core–that’s not what this film is about it. Pompo said it best when she said “directing is subjective and editing is objective”. Gene had literally been working himself to death editing a film in order to appease Pompo. I really enjoyed how it were these exhausting moments for Gene to discover he would need to add an additional scene to really capture that defining moment for the film he’s editing. Like he said, it wouldn’t be his film if he wasn’t editing it anymore. Cutting out all of the moments that didn’t matter (in a visually shonen style–slicing through the film reels with a sword) helped elevate the overarching theme centered around what was more important. He would be faced with a challenge by figuring how the film should be edited–objectively or subjectively? Cutting out those scenes with Nathalie Woodward and Martin Braddock hit home with this quite a bit. Ultimately it would be that this editing moment would help Gene to grow as an editor and Pompo acknowledging his skill but this wasn’t about him being accepted but rather what the film he was going to make in order for Pompo to relive her love of cinema as a child.

Pompo the Cinephile relies on creative passion and paying respects to the very films that inspire people to channel their own energy into works of cinema.

OVERALL IMPRESSIONS: [94/100]

On a side-note, my real life obligations have kept me busy and I have had virtually zero time to write for this blog. Hopefully this will change and I will review and as such I am looking for writers for my blog interested in writing for this site. If you are interested in tackling a series and or film(new or current) email me at beatslars@gmail.com

Siúil, a Rún OAD 1 [The Girl From the Other Side]

Initial Impressions, ,

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PLOT: In a world split between the Inside and the Outside, those living in both realms are told never to cross over to the other side, lest they be cursed. A young girl named Shiva lives in a vacant village with a demonic guardian known only as “Teacher.” Although the two are forbidden to touch, they seem to share a bond that transcends their disparate appearances. But when Shiva leaves Teacher’s care to seek out her grandmother, the secret behind her mysterious living arrangement comes to light. ~ANN

Production Details

Animation Production: WIT STUDIO [Animation Production on the following works: The Ancient Magus Bride, Shingeki no Kyojin (Attack on Titan), Koi wa Ameragari no You ni (After the Rain), B: The Beginning, Bungo Stray Dogs, Empire of Corpses film, The Great Pretender, Hal film, Kabaneri of the Iron Fortress, Owari no Seraph (Seraph of the End), The Rolling Girls, Vinland Saga, Under the Dog ONA“]

Directors, Screenplay, and Storyboards:

  • Yutaro Kubo
  • Satomi Tani

Based on the Original Manga by: Nagabe

Music: Schroeder-Headz

Sound Effects: Noriko Izumo [Sound effects on Boogiepop Phantom and Others / Mushishi / Sakamoto desu ga? / Sakura Trick / Vampire Knight Guilty]

Ever since this was announced back in March I was overjoyed it’s an excellent manga. The manga has received numerous awards for its telling dark love story of a young girl, Shiva, and a mysterious creature named only as “Teacher”. Loosely based on an Irish folklore story of romance the manga of the same name focuses on a relationship between a human girl and demon and their connection through touch that can never happen.

This OAD (Original Animation Disc) is more of a test of a new expressionistic approach. Balancing between light and dark colors. An advertisement for the manga –so if you don’t really know the story you can still enjoy this however, if you’ve read the manga up to at least volume 7 you will notice parts of the manga they’ve animated and have an understanding of these characters. Nonetheless, watching this is a visual feast that is unique and beautifully captivating.

Directed by two up and coming directors– Yutaro Kubo and Satomi Maiya. Kubo has been directing animated shorts and music videos since 2013 including the amazing Kicking Rocks which you can watch here. With Kubo, he’s got this way of animating that feels real with an edgy tone to it. When you see movement you can notice it would take that long amount of time for the movement to occur.

Satomi Maiya has been following the same path in career that Kubo has and she’s often collaborated on many of his works including Amazarashi’s music video Tarareba which can be watched here. Alongside a few commercials, a personal favorite of mine is her work on Miyagi Cooperative commercial animation which can be watched here.

With Siuil a Run, Kubo’s sketchy frenetic drawing/animation style provides a lively and bizarrely nurturing view of its two characters, the nature that surrounds them and objects especially clothing.

Maiya’s painterly form is very expressive. Heavily, showcased in this with one sequence that focuses on a dream Shiva has. Relying on pastel colors to define a wondrous world that is quickly consumed by darkness. Thanks to the use of some incredible chalk-es

Schroeder-Headz musical style suits this animation experiment wonderfully. A band that is comprised of mostly of drums, bass, and a piano. Named after Charles’ Schultz’s Peanuts piano player Schroeder. Their style pays tribute to this character through the use of a variety of genres– jazz , electronic, and classical. It’s as if you could envision a young person with all this talent performing these songs.  A mystifying release of imagery through sound that channels the unique wet ink drawings of Siuil a Run to great heights. I can’t imagine how good this would be as a full fledged series! Mushishi’s sound director Noriko Izumo matched with Schroeder-Headz’ experimental sound makes this one to check out. The effects of grass swaying in the wind, the footsteps that move from heavy to soft– from Teacher to Shiva. Without a single line of dialogue, Izumo had to establish how this world would need to be presented to its viewers to tell a story.

WIT Studio relied on various art techniques to reflect a storybook presentation that retains the artistic nature of the manga. A cleverly imaginative approach to depict sugar cubes dissolving in liquid to parallel her fears. Life is sweet but can be scary at times. Siuil a Run’s background art holds this pale warmth to it. A combination of faded brush/cross-hatch style. Mixed with object motion that carries a lighter weight. Brighter colors that stand out to in the foreground and you get really strong animation frames especially with the fire sequence with the cooking pot.

This short, with a runtime of around 10 minutes, is an enchanting story exploring Shiva and Teacher’s everyday life in a rural countryside. A pictorial perspective of a world of fantasy. Where fairytales aren’t always good. This is depicted by Shiva’s character’s clothing choice. A white robe illustrates her innocence– that there is a large world out there waiting to be discovered. Teacher, a demon that acts as her guardian wears a formal attire to attract the idea that he isn’t all that scary even if he’s a demon. Not much is shown in the way of the manga’s story–without the use of dialogue but you still get a good perspective on their relationship.

I hope one day WIT STUDIO returns to this project for a full-fledge animation work. It is extremely unique and the manga’s story is excellent!

OVERALL IMPRESSIONS: [98/100]

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Kimi to, Nami ni Noretara (Ride Your Wave) [Theatrical Edition]

Uncategorized

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Animation Production: Science Saru ( Devilman Crybaby / Eikouzen!, Lu Over the Wall, Super Shiro, The Night is Short, Walk on Girl])

Director:  Masaaki Yuasa ( Director on the following works, Anime Rakugo Kan OAV / Devilman Crybaby, Kaiba, Eikouzen!, Kemonozume, Kick-Heart, Lu Over the Wall film, Mind Game film, Night is Short Walk on Girl film, Ping Pong The Animation, Ride Your Wave, Super Shiro, The Tatami Galaxy, Vampiyan Kids)

Sceenplay: Reiko Yoshida ( Script for the following works: Aokana: Four Rhythm Across the Blue, Arte, Bakuman, Buddha film series, Cheery Boys!!, Chu-Bra!!, D.Gray-man, Hakumei and Mikochi, Hanayamata, High School Fleet, Jyu-Oh-Sei, Kaleido Star, Liz and the Blue Bird film, Lu Over the Wall film, Orphen [2020 version] / Tamako Market / Tokyo Mew Mew / Violet Evergarden {8 episodes})

Original Creator: Masaaki Yuasa

Character Designer: Takashi Kojima ( Key Animation on Aikatsu’s 2nd Opening Sequence / Key Animation on Bakemonogatari Episodes 13 and 15 / Key Animation on Blood-C The Last Dark [film] / Music Producer on To Aru Kagau no Railgun S / Key Animation on Eureka Seven Ao’s first ending sequence / Character Designer and Chief Animation Director on Flip Flappers / Key Animation on Sakamichi no Apollon (Kids on the Slope) Episode 12 / Key Animation on Japan Animator Expo Episode 8 “Tomorrow from there” / Character Designer and Chief Animation Director on Ride Your Wave / Key Animation on Shangri-La / Key Animation on Space Dandy Episodes 5 and 12 / Music Producer on Strike the Blood / Episode Director, Animation Director, Composite, Key Animation, and Layout on Shigatsu wa Kimi no Uso (Your Lie in April) Episode 5 / Key Animation on Yuri Kuma Arashi)

Music: Michiru Oshima [Music Composer for the following works: Arc the Lad, Aura: Koga Maryuin’s Last War / BECK: Mongolian Chop Squad Episodes 11, 12, 17, 18, and 20 / Zetsuen no Tempest / Boys Over Flowers / Buddha films / Casshan: Robot Hunter Casshern OAVs / Le Chevalier D’Eon / Fancy Lala / FullMetal Alchemist original series / Fuse: Memoirs of a Huntress film / Gokusen TV-Live Action / Haikara-san trilogy films / Hal film / Kaze no Tairiku (The Weathering Continent) / Yagate Kimi ni Naru / Legend of Crystania / Little Witch Academia / Maho Tsukai Tai! (Magic User’s Club!) / Massage ni Iko / Nabari no Ou / The Night is Short Walk on Girl / Patema Inverted (film) / Pretty Guardian Sailor Moon (Live Action film) / Project Blue Earth SOS / / Ride Your Wave / Queen Emeraldas / Rokka no Yuusha/ Akagami no Shirayukihime (Snow White with Red Hair) / Sora no Wo To (Sound of the Sky) / Speed Racer X / The Tatami Galaxy / X’amd Lost Memories]

 

Last week I got a chance to see the U.S. premiere event screening of Masaaki Yuasa’s latest film Ride Your Wave. I can’t stop thinking about this film and the life lessons it presents to us. I’ve been a fan of Yuasa’s works for a long time, really since Kemonozume aired back in 2006, and I am glad to see him churning out projects one after the other. With his recent spotlight with Devilman Crybaby on Netflix I am glad to see he’s gaining more attention with his creative ideas about telling a story. I believe that this is one of the most important films of 2019/2020 because of its bittersweet take on love, grief, and moving on from your weaknesses, challenging yourself, and finding your inner strength make a life that is important to yourself.

Yuasa’s style is usually strange visuals matched with strong and varied stories. From a swordsman falling in love with a woman that’s secretly a man-eating ogre, a high-schooler’s admiration of ping-pong, to all the different possibilities a college-aged youth can have in creating their future, and of course a man turning into a devil finding purpose in a world slowly crumbling into madness.

Ride Your Wave is a treat because it is a departure from everything he’s done before. The story of young woman, Hinako Mukaimizu moving to the oceanside to attend college and surf. Getting accustomed to her new life and new apartment -cooking and figuring life for herself. Not long after living life in her apartment a fireworks show causes a fire and destroys her place. She is saved by firefighter Minato Hinageshi and her world opens up with love in her heart.

Ride Your Wave is just as much a story about love as much as it is about the defining moments in our lives. How the time we spend with others can mean something much larger. The experiences we have, whether they are happy or sorrowful can carry us into different directions in life.  This film illustrates that life is like the waves of an ocean–coming and going but it is what we do with what we have learned through our experiences to establish a future for ourselves. A self-discovery story about losing a loved one and finding strength to carry on. Even if you haven’t seen this film and seen the trailer then you will know that Minato is killed in an accident at sea. For much of the first part of this film we get a well-written romantic comedy as we see Minato and Hinako falling in love, and for Hinako she’s beginning to find herself pretty well satisfied with life. Minato has carved his path out already in life–he’s a firefighter, and has learned a lot about cooking, etc. How to be independent. Hinako is very different in that she can’t cook, and hasn’t put much thought into what she wants to do in college.  As she learns more and more about him she falls harder in love with him. This eventually plays a large role in Hinako’s self-discovery moments towards the later portion of the film as she learns of why she has always been important to him.

Within the first ten minutes I would have thought Hinako’s love interest would be the other firefighter, Wasabi Kawamura, a man that loves her and wants to prove his worth. Even after Minato has died, he opens up to her and getting through to her broken heart. I am extremely glad to see how they handled his character throughout the film–he evolves into this motivating figure for Hinako and it’s refreshing. As the same with Minato’s sister, Yoko Hinageshi. Really glad to see how they handled her dynamic with Hinako by using her rough attitude as a coping mechanism over her brother’s death. Apart from the great story and visuals the acting in this is superb! Rina Kawaei (Hinako) and Ryouta Katayose (Minato) [which these two actors haven’t had much in their repertoire] immerse themselves in their roles wonderfully and it pays off perfectly throughout the entire film!

Ride Your Wave  focuses on the importance of moving forward when we go through hardship. Hinako discovers her boyfriend has died and she doesn’t know what to do. I won’t spoil much here but the entire animation sequence at the beach was handled perfectly. That very next scene is absolutely incredible because it shows us how defeated she is. Moving away from the place she finds joy (the sea), and the person that made her find purpose in her life is gone she is left shattered. She runs away from her life rather than confronting it head on. Avoiding all contact with her family and her friends. The fantasy aspect of this film firmly builds itself up in Yuasa-style in a charming bittersweet way. Hinako can see her boyfriend, Minato only if she sings the film’s theme song” Brand New Story” he appears through water. Time cut short with his life but now the two, both in different worlds, can reach their love with one another.

 

Something that Yuasa does really well is focusing on visuals rather than dialogue. We see their relationship grow and how water brings them closer together. The small vignettes of their dates illustrates this wonderfully- they’re at karaoke drinking water, they go swimming together where Hinako teaches Minato how to surf, and down to the romantic  final moments of Minato’s life with her. The sheer amount of detail in this film impressed me–especially where we get long closeup shots of omurice being prepared and coffee being poured though a filtered. Depicting how important water is in this story. I am glad this film didn’t skip out on Minato’s life because we get this concrete view of why he is so hard working and what motivates him. His dream of owning his own coffee shop What’s important is that Minato wants Hinako to learn to be independent–ride the waves herself. Coming to terms with his death is the hardest thing to do for Hinako and that final scene at the park lands a huge impact for this film as a whole. She hasn’t gotten over him and his love for her is what gives her the strength to find a life for herself.

Devilman Crybaby, Kemonozume, Ping-Pong the Animation (which you can read my review here) , the Tatami Galaxy, if you have seen any of director Masaaki Yuasa’s series then you will know you are in for a treat. This film wouldn’t have made the impact it did without Yuasa’s charm to it– Ride Your Wave is an astonishing character study with a wildly experimental visual presence. Hinako is a character that we see carrying a lot of self-doubt in herself and it isn’t until she meets Minato–his selfless devotion towards helping others that gives Hinako a strength that she never knew she had.

Much of Yuasa’s works have this edge to them but this film shy’s away from that and goes for a soft feel to it and the coloring is more polished with its characters and its backgrounds. I really like what they’ve done with this film. With a gorgeous visual presentation and enriching score, bu the talented Michiru Oshima everything flows together wonderfully.

You will laugh, you will cry, you will see what Hinako is going through in her life and what a journey it is. Masaaki Yuasa is one of my favorite directors in the anime industry (especially since Tatami Galaxy is in my Top 10 best series), he’s able to create these stories that carry a wild ride of fun and still contain crucial bittersweet moments. Ultimately, making the important aspects of this film that centers around love and grief hold a heavy emotional impact to them .

A lot of surreal works from The Night is Short, Walk on Girl and the 2004 film Mind Game, Yuasa established an aesthetic that can only be done through animation. Quick flowing movements of characters that stretch and bend to illustrate emotional expression that’s situational or motives of its characters. Watching this film made me realize how they took Lu Over the Wall‘s central ideas about Lu being called out of the sea through music and absolutely mastered it with this animated feature. With Ride Your Wave, Hinako singing their song (Band New Story) with the focus on water— brings Minato back to life to embellish their love in a beautifully imaginative world of wonder. A world Hinako wishes she could live in forever and ever. And I’m sure the viewers want to as well. I know I did. It isn’t until you see the final minutes of the film that the importance Minato’s death, Hinako’s grief, and learning about his life being saved has to the overall story. Gaining independence and the confidence in herself to ride the waves that she’s made for herself.

By far, this is one of his best works to date, and I am happy to say is in my Top 10 Best Anime Films.

 

OVERALL IMPRESSIONS: [99/100]

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Carole & Tuesday Episode 7

Carole & Tuesday, Currently Watching, , ,

 

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Episode 7 “Show me The Way” [from the same name as the Peter Frampton song]

Production Details

Episode Director: Satoshi Takato [Script on Gokyodai Monogatari film / Series Composition and Script on Kuromajyo-san ga Toru!! / Screenplay on Little Witch Academia Episodes 3, 7, 8, 14, 16, and 22 / Script on Mysterious Joker Episodes 2,4,7,10,12 / Script on The Royal Tutor film and series’ episodes 1,2,5,6, 11, and 12 / Script on Space Dandy Episodes 3, 4, 7, 10, 12, 14, 20, and 23 / Script on Space Patrol Luluco Episodes 8 and 10 / Script on Zumomo to Nupepe Series]

Script: Kimiko Ueno [Script on Gokyodai Monogatari film / Series Composition and Script on Kuromajyo-san ga Toru!! / Screenplay on Little Witch Academia Episodes 3, 7, 8, 14, 16, and 22 / Script on Mysterious Joker Episodes 2,4,7,10,12 / Script on The Royal Tutor film and series’ episodes 1,2,5,6, 11, and 12 / Script on Space Dandy Episodes 3, 4, 7, 10, 12, 14, 20, and 23 / Script on Space Patrol Luluco Episodes 8 and 10 / Script on Zumomo to Nupepe Series]

Storyboard: Takaharu Ozaki [Storyboard on Amnesia Episodes 5 and 6 / Storyboard on Banana Fish Episode 17 / Director on Berserk Golden Age Arc Films 1 and III / Storyboard on  Kekkai Sensen Beyond (Blood Blockade Battlefront Beyond) Episodes 7 and 11 / Storyboard on Card Captor Sakura Episode 63 / Storyboard on Concrete Revolutio: The Last Song Season 2 Episode 24 / Director on Dead Girls OAV / Storyboard on Hisone to Masotan Episode 6 / Storyboard on Ergo Proxy Episodes 10 and 18 / Episode Director on Freedom Episode 4 / Storyboard on Gungrave Episodes 3,9,15, and 21 / Storyboard on Sakamichi no Apollon (Kids on the Slope) Episode 7 / Director, Screenplay, and Storyboard on Kure-nai Series / Storyboard and Episode Director on Master Keaton Episode 15 / Sound Director on Gekkou Shoujo Nozaki-kun (Monthly Girls’ Nozaki-kun) Series / Storyboard on Boku no Hero Academia (My Hero Academia) Episode 6 / Director, Script on Natsuyuuki Rendezvous / Unit Director on Perfect Blue film / Director and Storyboard on Red Garden / Storyboard on Zankyou no Terror (Terror in Tokyo) Episode 6 / Storyboard on SHIKI Episode 16 / Voice Actor in Red Garden Episode 7 as Kou-sensei]

Chief Animation Director: Yoshiyuki Ito (Character Designer and Chief Animation Director on Concrete Revolutio / Key Animator on Episodes 1, 5, 7, 9, 12, 15, 18-20, 22, 24-26 on Cowboy Bebop / Character Designer and Chief Animation Director on Hisone to Masotan / Planning on GANGSTA / Key Animator on Kaiji Opening Sequence]

Animation Directors:

  • Keichiro Honjo
  • Eiko Saito
  • Nayumi Ogashiwa

 

The American idol of anime and this episode uses that to its advantage. Not only that but Carole & Tuesday charms its way into giving us more information about the girls–specifically Carole. Director Watanabe certainly knows how to create these small self-contained situations and build them up in extremely subtle ways. Carole and Teusday get ready for the Mars Brightest comeptition, much like American Idol, where aspiring singers/musicians come together, compete and try their hardest to make it big. As before, we know that Carole and Tuesday are from entirely different backgrounds, their chemistry together makes them a joy to watch because of this and here is where we get to see that pay off wonderfully. I am actually really glad their song for the audition is shown because we get a lot more focus on the personal relationships between them. The auditions is where the comedy of this episode shines– the reference to Vistas The 7th Element song comes out of nowhere and lands perfectly! Some extremely varied performers here–the grandmother’s chicken-esque dubstep, the return of IDEA from episode 4, the samurai’s

From what we gathered before Carole is from a refugee camp, raised in a church orphanage never having known her parents from Earth and the creators delicately put this in during their audition creates this huge impact on Tuesday. We know that Tuesday is from a wealthy family, and running away from a rich and sheltered lifestyle says a lot about her. The discovering of Mars and a life she could be living. She’s never had it hard and she’s just discovering that from the first episode of the series.

This part of the story, specifically this episode with having learned of Carole’s past for the first time shows us that there are people out there that are have had a more difficult time living. Tuesday can’t seem to wrap her head around that just yet. The respect she has for Carole stems from her staying true to herself, never backing down and never ever giving up–something of which Tuesday wishes she’s had all along. She sees how loving Carole can be and for Tuesday finding that warmth inside of her is quite difficult because she is so wrapped up in herself, from running away, keeping her identity a secret, that she lacks confidence that ultimately presents the selfish jealous side towards Carole. It is towards the end of this episode that we get a full view of how inspirational and influential these two can be towards each other. A rock to lean on one another–Tuesday doesn’t recognize the happiness she’s found within herself about singing and playing the guitar because she’s scared of seeing where it might lead. Carole reminds her of this in an honest and heartfelt way that it ultimately leads to Tuesday sharing a bit more of herself. I really am glad to see this happen so early on for the reason that we’ve focused on the music portion and what makes them special together and now we’re seeing this realistic portrayal of friends outside of their element. It’s refreshing.

Then there is Angela Carpenter. We’ve seen much earlier on that she’s been living alone, she’s been invited back home by Mama Dahlia but it’s clear now more than ever that she doesn’t miss her home life–the eye-catches of the family photos, the dry blood on the wall, and most importantly Dahlia’s side-effects to the drugs (presumably from transition) represents the aftermath that left Angela’s sweet and accomplished child-star life in shambles. This causes her to lash out at others and her approach of “I won’t loose to some amateurs”.

Influence seems to play a lot in this show–we’ve had Roddy and Gus become the stepping stones in to getting their music out there, Carole’s landlord becoming understanding of Tuesday’s situation with their first gig and now the guy from the laundrymat during their song “Round & Laundry” from episode 3 shows up randomly.  This creates this influence I mentioned earlier–these girls are slowly building a name for themselves in the smallest of ways. Great moment!

Anyone catch the Cowboy Bebop reference towards the end? “Whatever happens, happens”

 

OVERALL IMPRESSION: 10/10

—

Carole & Tuesday Episode 6

Carole & Tuesday, Currently Watching, , ,

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Episode 6 “Life is a Carnival” [from the same name as The Band song]

Production Details

Episode Director: Shohei Miyake [Episode Director on A.I.C.O. Incarnation ONA series Episodes 9 and 12 / Episode Director on Hisone to Masotan Episodes 1,6, and 12 / Episode Director on Mob Psycho 100 II Episode 4 / Setting Production on Noragami and season 2 Aragoto / Production Advancement on UN-GO Episodes 3 and 7]

Script: Yuichi Nomura [Series Composition on A.I.C.O Incarnation ONA series / Script on Area 88 / Script on Buddy Complex Episodes 2,6, and 10 / Screenplay on Code Geass: Lelouch of the Rebellion Episodes 17, 20, 24, 25, and 26 / Script on Darker than Black Episodes 3, 4, 15, and 16 / Scenario and Story Cooperation on Freedom OAV / Script on The Girl Who Leapt Through Space Episodes 18, 21, and 24 / Main Writer on Bounen no Xam’d (Xam’d Lost Memories)]

Storyboard: Kou Matsuo [Storyboard on Amnesia Episodes 5 and 6 / Storyboard on Banana Fish Episode 17 / Director on Berserk Golden Age Arc Films 1 and III / Storyboard on  Kekkai Sensen Beyond (Blood Blockade Battlefront Beyond) Episodes 7 and 11 / Storyboard on Card Captor Sakura Episode 63 / Storyboard on Concrete Revolutio: The Last Song Season 2 Episode 24 / Director on Dead Girls OAV / Storyboard on Hisone to Masotan Episode 6 / Storyboard on Ergo Proxy Episodes 10 and 18 / Episode Director on Freedom Episode 4 / Storyboard on Gungrave Episodes 3,9,15, and 21 / Storyboard on Sakamichi no Apollon (Kids on the Slope) Episode 7 / Director, Screenplay, and Storyboard on Kure-nai Series / Storyboard and Episode Director on Master Keaton Episode 15 / Sound Director on Gekkou Shoujo Nozaki-kun (Monthly Girls’ Nozaki-kun) Series / Storyboard on Boku no Hero Academia (My Hero Academia) Episode 6 / Director, Script on Natsuyuuki Rendezvous / Unit Director on Perfect Blue film / Director and Storyboard on Red Garden / Storyboard on Zankyou no Terror (Terror in Tokyo) Episode 6 / Storyboard on SHIKI Episode 16 / Voice Actor in Red Garden Episode 7 as Kou-sensei]

Chief Animation Director: Naoyuki Konno (Character Designer and Chief Animation Director on Concrete L / Key Animator on Episodes 1, 5, 7, 9, 12, 15, 18-20, 22, 24-26 on Cowboy Bebop / Character Designer and Chief Animation Director on Hisone to Masotan / Planning on GANGSTA / Key Animator on Kaiji Opening Sequence]

Animation Directors:

  • Satomi Kani: [ Key Animation on Ayakashi Samurai Horror Tales Episode 1 / Key Animation on Kekkai Sensen Beyond (Blood Blockade Battlefront Beyond) Opening and Ending Sequences and Episode 12 / Key Animation on Eureka Seven OAV Opening Sequence / Key Animation on Halo Legends “The Babysitter) / Key Animation on Mob Psycho 100 II Episode 1 / Key Animation on Space Dandy Episode 17 / Key Animation on The Tatami Galaxy Episode 5]
  • Kenji Mizuhata [ Key Animation on A.I.C.O. Incarnation Opening Sequence and Episodes 1 and 8 also was the Animation Director on Matter on Episodes 6 and 12 / Key Animation on Angelic Layer Episodes 23 and 26 / Key Animation on Dog of Flanders film / Episode Director on Eureka Seven Episode 14 also Animation Director on Ending Sequence three / Key Animation on Japan Animator Expo “The Ultraman” ONA Episode / Key Animation on Macross Plus Movie Edition / Assistant Animation Director on Michiko e Hatchin Episode 14 / Key Animation on Samurai Champloo Episode 21 / Key Animation on Space Dandy Episode 26 / In-Between Animation on Urusei Yatsura OVA Series Episode 5 / Key Animation on Wolf’s Rain Episode 1 OAV / Animation Director on Bounen no X’amd (Xam’d Lost Memories) Opening Sequence and Episodes 3,8,15, and 24]
  • Kenichi Onuki (Key Animation on Blood+ Episode 30 / Animation Director on Zetsuen no Tempest (Blast of Tempest) / Design on Cheating Craft / Character Designer on Dark Warrior OAV / Key Animation on Darkside Blues film / Animation Director on Dirty Pair Episodes 4,7,16, and 20 / Original Character Design on Hana no Mahōtsukai Mary Bell (Flower Witch Mary Bell) / Character Designer on Golden Kamuy / Character Designer on Gundam Build Fighters series / Key Animation on Jyu-Oh-Sei Episode 10 / Character Designer on Major Series / Character Designer on Samurai Gun / Assistant Character Animation Director on Star Blazers 2199 Episode 5 / Key Animation on Urusei Yatsura: Remember My Love film / Animation Director on X Episode 17]
  • Satoshi Ishino [Character Designer, Chief Animation Director on Akahori Gedo Hour Rabuge / Key Animation on Alien Nine Episode 2 / Key Animation on Banner of Stars Episode 7 / Key Animation on The Big O Episode 2 / Key Animation on Zetsuen no Tempest (Blast of Tempest) Second Opening Sequence, First Ending Sequence, and Episodes 1 and 13 / Storyboard on BLEACH Second and Sixth Ending Sequences / Key Animation on Kekkai Sensen (Blood Blockade Battlefront) Opening Sequence / Character Designer, Chief Animation Director on Captain Earth / Character Designer, Chief Animation Director on Classroom Crisis / Character Designer and Chief Animation Director on Date a Live / Character Designer on Excel Saga]

 

Song Performances:

  1. [Who am I the Greatest]
    • Performed by: Ertegun
    • Composed by: Taku Takahashi (m-flo)
  2. [Round & Laundry]
    • Vocalists: Carole and Tuesday (Nai Br. XX & Celeina Ann)
    • Composed by: Benny Sings
  3. [unrequited love]
    • Vocalist: Skip (Thundercat)
    • Composed by: Flying Lotus and Thundercat
  4. [Unbreakable]
    • Vocalist: Crystal (Lauren Dyson)
    • Composed by: Evan Bogart and Justin Gray

A practice performance at the music hall, a zombie-esque Ah-Ha music video, and their first gig at the Mars Lounge they finally receive a chance of a lifetime–to become backup performers at the popular Mars’ Music Festival Sidonia. This festival reminds me a lot of the Monegros Desert Festival in Spain. The biggest electronica and rave festival in Spain.

Last time this show points out that there aren’t necessarily evil people in this show, just that these people have real human emotions trying to attain something out of life. Ertegun is a prime exampe of this. He’s clearly in a league of his own in terms of musical style (Thanks to M-flo’s superb Taku Takahashi, the composer for the main soundtrack to Space Dandy) but with a superficial personality that sceams he HAS to be at the center of everything. A man wrapped up in his own head about how important he is and that he’s extremely crucial to Mars’ music industry. He is quite the contrast to our lead girls Carole and Tuesday. They just want to share their music with the people of Mars.

This episode defines the path these girls were on and where they are headed. We’ve seen a few times where Tuesday can’t process things well when it comes to her emotions–pointing to us that she’s lived quite the sheltered life of luxury. Having confronted Ertegun out of anger, burning up their sheet music, she dissociates with society. And from the get-go in this episode receiving news that they might take over for the performance slot from Joshua’s injury she faints, gets sick, and becomes deathly worried about finally getting that chance to be in the spotlight.  Carole is her rock–and it now makes sense if you go and rewatch the first two episodes. She’s stands firm in her beliefs and how she should be true to herself and this definitely comes out in their music. A solid balance of the two and this episode defines the strength these two share between each other–they even go to play their pop song “Round and Laundry” at a rock concert! What drive these two have! The performance is good on a multitude of levels–the faster tempo, the angry fans throwing things at them is just another way to establish disparity between their music and the top musicians of Mars.

Speaking of differences I am really glad that the creators decide to showcase a few different styles of music and personalities here. Skip has this smooth, Skip, Joshua’s band Omega (reminds me a lot of Yoshiki, (sharing the same birthday and the singer for last year’s season 3 opening of Shingeki no Kyojin (Attack on Titan) where he drinks, uses foul language and falls off stage, a comical and somewhat crazy musician!  Then there is Crystal, the Beyonce of Carole & Tuesday. Skip has some past with Crystal and I really like how this translates through their music–they both long for each other but with time has changed them in ways. They’re singing about their past and what they want out of their futures. I hope to see more of them in upcoming episodes! It is good to see Carole and Tuesday relate with the encouraging words from Crystal–you can have ups and downs when it comes to music but she shares with them that their courage (songs) can help reach people even if they don’t feel they did a great job. Classic fans in a nutshell–Carole and Tuesday bounce right back after seeing one of their idols cheer them on.  Skip’s encouragement says a lot about this show’s regular music performers–that you can’t lose sight of what made you love playing music in the first place.

 

OVERALL IMPRESSIONS: 10/10

—

Carole & Tuesday Episode 5

Carole & Tuesday, Currently Watching, , ,

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Episode 5 “Every Breath You Take” [from the same name as The Police song]

Production Details

Episode Director: Noriyuki Nomata [ Animation Unit Director on Danganronpa The Animation (Episodes 1,3,5,7, and 9 more specifically the Animation Punishment Movie) / Episode Director on Baby Steps Episode 13 / Episode Director on Hitsugi no Chaika (Chaika The Coffin Princess) Episode 5 / Episod Director on Cross Ange Episodes 4 and 11 / Episode Director on Flip Flappers Episode 2 / Episode Director on Misone to Hasotan Episode 11 / Assistant Episode Director on Monsuno Episode 16 / Episode Director on PSYCHO-PASS Episode 17 / Episode Direction Cooperation on Kuzu no Honkai (Scum’s Wish) Episode 8 / Episode Director on Show By Rock!! Episode 11 / Episode Director on Show By Rock!! Season 2 Episode 10 / Episode Director on Star Blazers 2199 Episode 25 / Episode Director on Unbreakable Machine-Doll Episode 2]

Script: Deko Akao (Script Writer and Series Composition on Akagami no Shirayukihime episodes 1, 2, 4, 8, 9 and 11 / Series Composition and Script on Etotama / Series Composition and Script on Amanchu! / Script Writer on Tonari no Kaibutsu-kun episodes 5, 8 and 10)

Storyboard: Manabu Okamoto [Storyboard on Akame ga Kill!’s Ending Sequences / Episode Director on Akame ga Kill! Episodes 6 and 17 / Director and Script on Gamers! Episode 12 / Episode Director and Storyboard on The IDOLM@STER Cinderella Girls Ending Sequence for Episode 8 / Storyboard and Unit Director on Matoi the Sacred Slayer Episode 6 / Storyboard on Qualidea Code Episode 11 / Storyboard on ReZero: Kara Hajimeru Isekai Seikatsu’s  Second Ending Sequence and Episode Director on Episode 8]

Chief Animation Director:  Yoshiyuki Ito (Character Designer and Chief Animation Director on Concrete Revolutio / Key Animator on Episodes 1, 5, 7, 9, 12, 15, 18-20, 22, 24-26 on Cowboy Bebop / Character Designer and Chief Animation Director on Hisone to Masotan / Planning on GANGSTA / Key Animator on Kaiji Opening Sequence]

Animation Directors:

  • Koichi Horikawa [Animation Director on A.I.C.O. The Incarnation ONA series Episodes 3, 8, 9, and 12 / Animation Director on Ayakashi Ayashi Ayashi Divine Comedy Episode 1 / Animation Director, Key Animation and Design Cooperation on Kekkai Sensen Episode 2 / Key Animation on Bubblegum Crisis Episode 6 / Key Animation on Carol OAV / Key Animation on Cowboy Bebop Episodes 1,3,5,7,9, 10,13,15,17,18,19,20, 22,24,25, and 26 / Key Animation on Crusher Joe: The OVAs Episode 2 / Animation Director on Hisone to Masotan Episodes 1,4,6,9,10,11, and 12 / Key Animation on Eikyuu Kazoku (Eternal Family)  / Animation Director on Eureka Seven Episodes 8, 16, and 23 / Assistant Animation Director on Eureka Seven Good Night, Sleep Tight, Young Lovers film / Animation Director on Eureka Seven AO Episodes 2,7,11,14,20, and 23 / Animation Director on Hagane no Renkinjitsushii (FullMetal Alchemist BROTHERHOOD Episodes 57 and 64 including Episode 1 OAV / Animation Director and Key Animation on Ghost Slayers Ayashi / Animation Director and Key Animation on GOSICK Episodes 8, 16, and 22 / Animation Director on Boku no Hero Academia (My Hero Academia) Episodes 2, 9, 12, 38, 54, 59, and 63 (Key Animator) / Animation Director on Noragami Episodes 2, 8, and 11 / Animation Director on Noragami Aragoto Episodes 4, 10, and 13 / Animation Director on RahXephon / Key Animation on Scrapped Princess Episodes 21 and 24 / Animation Director and Key Animator on STAR DRIVER Episode 7 / Animation Director and Key Animator on UN-GO Episode 2 / Key Animation on Witch Hunter Robin Opening Sequence / Animation Director on Wolf’s Rain Episode 2 and Key Animator on Episodes 1 and 4]
  • Shinya Yamada [Key Animation on Koi wa Ameagari no You ni (Episode 3) / Animation Director on Amanchu! Episodes 5, 10, and 12 also Key Animator on Episode 2 / Key Animation on Shingeki no Kyojin Episode 22, 25, and 28 / Key Animation @ Seigasha on Beck: Mongolian Chop Squad Episodes 2 and 13 / Key Animation on Bungo Stray Dogs Episode 2 / Web Production on Kekkai Sensen / Animation Director on Kekkai Sensen BEYOND Episodes 5, 9, and 11 / Key Animation on Code Geass: Akito The Exiled OAV Episode 1 / Key Animation on Mobile Suit Gundam AGE Episode 31 / Key Animation on Nodame Cantabile / Animation Director on Nodame Cantabile Paris-hen (2nd Season) Episodes 3 and 8 / Animation Director and Key Animator on Nodame Cantabile FINALE (3rd Season) Episode 6 / Key Animation on Mawaru Penguindrum Episode 15 / Key Animation on Subete ga F ni Naru (The Perfect Insider) Episode 1 / Key Animation on Puella Magi Madoka Magica Episode 6 / Key Animation on Ristorante Paradiso Episode 1 / Key Animation on Samurai Champloo Episode 23 / Animation Director on Shimoneta Episodes 5 and 8 / 2nd Key Animation on STAR DRIVER Episode 9 also a Key Animator on Episodes 12, 18, and 20 / Character Designer, Chief Animation Director and Animation Director on Trickster Episodes 1 and 24 and the show’s opening sequence / Key Animation on Yuri!!! on Ice! Episode 1 / Key Animation on Yurikuma Arashi Episodes 3, 7, and 11 / Animation Director on Shigatsu wa Kimi no Uso (Your Lie in April) Episodes 4,7, 16, 19, 20, and 21]

 

The animation is a bit off at times but nonetheless another marvelous episode. While last week was filled with comedy this episode pushes the story further along in a more serious matter and still these girls are an absolute joy to watch! Now is where we can finally see how realistic this show is–Carole’s power gets cut off at the apartment and the girls have to look for jobs to stay afloat. While many shows would neglect these details it’s great to see an anime series handle this realistically.

With Roddy’s efforts to get the girls a gig through Beth the owner of the Mars Lounge club, unlike previous episode have taught us about Carole and Tuesday wanting to become famous it is clear now more than ever that even if these girls don’t make it big they would still jam together with no one around to hear it.

Like in the episode’s title, the focus here is undoubtedly what the voice can do and how it can reflect an overall song. In order for Tao to gain the 12 million woolong he brings Angela along to investor Schwartz. This says a lot about Tao– in order to get the upper hand on Angela’s mother Dahlia and secondly gain more money for his research in mind control. He goes to quite lengths especially here–does background on Dahlia, Angela’s acapella performance shows that Tao is putting faith in Angela’s voice. Another method in getting Angela to trust him more. Still though, with Dahlia’s past slowly revealing itself and her having been angered by it you have to wonder how long it will be until she snaps and Tao’s true colors are shown.

Carole & Tuesday would probably be an average show if it were set in today’s world however with this anime set on Mars the story becomes something special. An over-arching theme of accomplishing your dreams in a world of AI culture and the fight to create something for yourself (and if you can let it out for all the world to see and hear).

Spencer Simmons. We have only seen him a few times and after seeing the preview with him in this episode I was extremely worried we would get some huge falling out between him and Tuesday’s love for music during the gig. An amazing tender song about finding your journey and never be scared of where you are headed. At the very beginning he is determined to bring Tuesday back but then towards the end he finds her by chance, performing at a small club. There are a lot of things that could have happened–Spencer  disrupts their performance ruining any chance Carole and Tuesday have at their first gig but he doesn’t. He listens to it, accepts what she is doing and leaves. Instead of following his mother he believes in his sister and supports her. This show is so fantastic because there hasn’t been anyone particularly evil and this episode reminds us of that.

 

OVERALL IMPRESSION: 10/10

—

 

Carole & Tuesday Episode 4

Carole & Tuesday, Currently Watching, Uncategorized, , ,

 

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Episode 4 “Video Killed the Radio Star” [from the same name as the Buggles song]

Production Details

Episode Director: Tsuyoshi Tobita [Episode Director on A.I.C.O. -Incarnation- Episodes 3, 8 and 12 / Episode Director on Accel World Episodes 6, 9, 14, and 21 / Episode Director on The Disappearance of Nagato Yuki-chan Episodes 2, 10, and 16 / Episode Director on Girlish Number Episodes 2 and 8 / Episode Director on Kaguya-sama: Love is War Episodes 5 and 10 (Also the Unit Director on its Opening Sequence) / Storyboard on Log Horizon Episode 13 (Also Episode Director on Episodes 5, 13, and 22) / Episode Director on Boku no Hero Academia (My Hero Academia) Episode 12 (Also the Unit Director on its First Ending Sequence) / Episode Director on Noragami Episodes 6 and 12 / Episode Director on Noragami Aragoto Episodes 1, 6, and 13 / Episode Director on Grancrest Senki (The Record of Grancrest War) Episodes 2, 5, 12 and 13 / Episode Director on Sword Art Online Alicization Episode 1 / Episode Director on Wotakoi Episodes 3 and 10]

Script: Kimiko Ueno [Script on Gokyodai Monogatari film / Series Composition and Script on Kuromajyo-san ga Toru!! / Screenplay on Little Witch Academia Episodes 3, 7, 8, 14, 16, and 22 / Script on Mysterious Joker Episodes 2,4,7,10,12 / Script on The Royal Tutor film and series’ episodes 1,2,5,6, 11, and 12 / Script on Space Dandy Episodes 3, 4, 7, 10, 12, 14, 20, and 23 / Script on Space Patrol Luluco Episodes 8 and 10 / Script on Zumomo to Nupepe Series]

Storyboard: Tensai Okamura [Storyboard on Zetsuen no Tempest (Blast of Tempest) Second Ending Sequence / Director, Storyboard  on Ao no Exorcist (Blue Exorcist) First Opening and First Ending Sequences + Episodes 1, 2, 6, 18, 20, and 25 / Storyboard on Cowboy Bebop Episodes 6, 7, 12, 13, 15, 22, and 24 / Original Creator, Director, Series Composition, Script on Darker Than Black entire series + OVAs and manga / Storyboard on Uchoten Kazoku (My Eccentric Family) Episodes 4 and 9 / Storyboard on Darling in the FranXX Episode 8 / Storyboard on Emma: A Victorian Romance Episode 2 / Key Animation on Ghost in the Shell (1995 film) / Storyboard on Guilty Crown Episode 20 / Storyboard on Hanasaku Iroha Episodes 5 and 7 / Storyboard on Iroduku: The World in Colors Episodes 8 and 13 / Animation Director and Key Animation on Jiku Boken Numamonjaa OAV / Director and Storyboard on Kuromukuro (the storyboard on first opening sequence + Episodes 1, 2, 4, 11, 18, and 26) also Key Animation on Episode 26 / Director and Storyboard on Medabots / Animation work on My Neighbor Totoro film / Episode Director and Storyboard on Neon Genesis Evangelion Episode 13 / Key Animation on Ninja Scroll film / Storyboard on Ouran Highschool Host Club Episode 3 / Director on Project Earth Blue SOS and Storyboards for Episodes 1, 3, and 6 / Episode Director on Episode 1 / Storyboard on RD Senno Chosashitsu (Real Drive) Episode 25 / Storyboard on Samurai Champloo Episode 23 / Director on Nanatsu no Taizai (The Seven Deadly Sins) / Director on Wolf’s Rain (and its OAV) (also Storyboard on Episodes 1-3, 7, 11, and 12]

Chief Animation Director: Naoyuki Konno (Character Designer and Chief Animation Director on Concrete L / Key Animator on Episodes 1, 5, 7, 9, 12, 15, 18-20, 22, 24-26 on Cowboy Bebop / Character Designer and Chief Animation Director on Hisone to Masotan / Planning on GANGSTA / Key Animator on Kaiji Opening Sequence]

Animation Directors:

  • Manabu Nii [Key Animation on Aikatsu Friends! Opening Sequences / Key Animation on Aria the Natural Episode 7 / Sub Character Design and Chief Animation Director on Bakuon!! Episodes 3, 5, 7, 9, 10 and 11 / Animation Director on Yagate Kimi ni Naru (Bloom Into You) Episode 6 / Key Animation on Deadman Wonderland Episode 9 / Animation Director on Garakowa film / Key Animation @ MANGLOBE Studio on GLASSLIP Episode 10 / Ke Animation on March Comes in Like a Lion Episode 8 / Key Animation on Tsuritama Episode 8 / Animation Director on The World God Only Knows Season 2 Opening Sequence and Episodes 1, 7, and 12]
  • Hideko Sato [Key Animation on 91 Days Episode 8 / Animation Director Assistant on Boku no Hero Academia (My Hero Academia) Episode 35 / Key Animation on Kekkai Sensen (Blood Blockade Battlefront) Episodes 8 and 12 / Animation Director on Shouwa Genroku Rakugo Shinju Episode 7 / In-Between Animation on Kizumonogatari Part 1: Tekketsu film / 2nd Key Animation on Kizumonogatari Part 3: Reiketsu film / 2nd Key Animation on Tokyo Ghoul Episodes 4 and 5 / Key Animation on Tokyo Ghoul:re Opening Sequence and Episode 8]

This is the kind of episode that tells us to keep watching this show. It has everything! Zombies, a music video, a dance sequence, a cameo from Space Dandy characters (QT, Honey, and the other Boobies’ waitress Candy)  and lots of other references! For the show itself, it looks incredibly amazing because it shows us how this world is much like our own when it comes to social media and how to generate attention through the net.

Having the plan with Ertegun not working out–the girls and Gus decide that a music video could be a way for them to garner attention to their music. Glad to see that the ending song finally lands a spot in this series’ story, as it’s featured in the repertoire of these girls’ songs! As far as the girls go with music I find it very neat how Roddy and Gus have impacted their lives as musicians. At first, the girls wanted to play music just for themselves and last time we got to see that they want a song that will take the world by storm. In other words, they want to become famous. Sharing the same intentions as Roddy and Gus.

This entire episode is a commentary on our way of life today–from ” in real life” relationships and how we use new media to create connections with others through the means of social networking and viral distribution. I think it would be a really cool thing to do if the creators implemented the use of a QR code in an upcoming episode that offered a download for a song they’re writing. It would certainly hit a mark.

So the group purchases a robot named IDEA to direct their DIY music video. I really like how we have this wide range of ideas for the video between Carole, Gus, and Roddy and Tuesday. Gus wants a video straight out of a Marvel film, Carole wants Michael Jackson’s Thriller, Roddy being the nerd that he is with his robots and tech equipment all through his apartment wants a music video akin to A-ha (more specifically the music video for “Take on Me”, All Tuesday wants is a cool video with a slight reference to Kevin Costner’s film “The Bodyguard”. A charm of this episode is that we have this robot combining all these referential ideas all a bit too easily. How situationally ironic this is. The entire show has been A.I. and robots doing the jobs that humans do and here we have a robot (an AI director named IDEA) relaxing watching an anime of another robot (QT from Space Dandy) relaxing. What makes this really funny is that both robots (Idea and QT) share the same voice actress. A self-proclaimed director, that drinks beer, takes a bath while drinking beer, watches anime (awesome that it turns out to be Space Dandy) and bullies Giggy (Carole’s pet robot owl). On top of that is where Roddy becomes the butt of the jokes during video production. Have to love Ertegun’s reaction at the end! As far as Ertegun goes, we have to wonder what his relationship with Roddy really is. He shoes affection towards him–he doesn’t want him falling into a trap whether it’s with Carole and Tuesday or not.  This factor works for the show’s benefits as it adds more layers to this futuristic world we’ve been presented with. Especially a world that closes its doors to human performers and showcases A.I. as the real creative geniuses behind all entertainment.

When it comes to a show like this you have to learn a little bit more about the characters to get a great story. Shinichiro Watanabe did this same thing with Space Dandy and all his other works before it. Deliver somewhat episodic content and subtlely toss in small details about the main cast. This episode, in particular, uses Gus and his connections within the industry to help these girls become stars. In order to fulfill all these unreasonable requests from director IDEA, Gus turns to his ex-wife Marie for help. Their chemistry is real. A well-grounded relationship with her ex. We don’t have to spend a few episodes seeing her character grow.  While she can receive further character development one thing is quite clear: she already has the life she wants. Without even showing us a single scene while they were married we can already tell that they had their ups and downs, but with time have gotten over it and have become closer than they ever have before.  She wants the best for him and he shares the same sentiments. I really like how the creators didn’t shove down the fact that she’s getting remarried until much later on in the episode. She’s bisexual and they establish this very naturally. It isn’t until we see the girls out shopping and getting makeovers that this is the case. She has this large change in her life, discovering who she is and finding happiness with a woman, who turns out to be hair and makeup stylist Anne.  It is out of her respect for Gus now more than ever that she chooses to help these girls with their music video. The scenes in this episode with Gus and Marie are about the best this show has so far. Very authentic especially with its production. Light jazz score and casually warm color choice, and extremely detailed bar backdrop.

As for the final music video production, it is wonderfully hilarious! Filled with lots of references from Michael Jackson’s Thriller music video to The Breakfast Club to Marvel, Money for Nothing music video, and there are a few in there I recognize but can’t quite figure out what they’re from. Carole & Tuesday is effortlessly hilarious and we can really see that with the countless ways they made the music video look amateurish. Tons of rough cuts–bad transitions and unfinished CG (not to mention their instruments are made out of cardboard) plus the framing is entirely off the wall where random people show up on camera (by accident) front and center.  They get scammed by an alcoholic robot (IDEA) into making the worst (best) ripoff music video. The video gives a good look at how songs might be produced by A.I.. We haven’t really heard much aside from Ertegun’s music but from what I gather from this video the music might be done in a similar style. If this is the case this would be a fascinating method to explore this theme.

OVERALL IMPRESSION: 10/10

 

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Carole & Tuesday Episode 3

Carole & Tuesday, Currently Watching, , ,

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Episode 3 “Fire and Rain” [from the same name as the James Taylor song]

Production Details

Episode Director: Satoshi Takafuji [Episode Director on Kiznaiver Episode 10 / Episode Director on Boku no Hero Academia (My Hero Academia) Episodes 21, 25, 30, and 36 / Episode Director on PSYCHO-PASS 2 Episode 4 / Assistant Episode Director on Ring ni Kakero 1: Shadow Episodes 2 and 4 / Episode Director on Yozakura Quartet -Tsuki ni Naku OAV 3]

Script: Yasuhiro Nakanishi [Series Composition on Kaguya-sama: Love is War / Script on Iroduku Episodes 7, 9, and 10 / Story and Art on Shiawase Restaurant Manga / Screenplay on Shouwa Genroku Rakugo Shinju Episodes 4, 7, and 11]

Storyboard: Naomi Nakayama [Storyboard and Episode Director on Kekkai Sensen (Blood Blockade Battlefront) Opening Sequence and Episode 9 / Storyboard on Casshern Sins 2nd Ending Sequence / Setting Production on Casshern Sins / Storyboard on Arslan Senki First Ending Sequence / Episode Director on Arslan Senki Episode 24 / Setting Production on Kemonozume / Storyboard on Boku no Hero Academia (My Hero Academa) Ending Sequence / Series Director on Orange / Storyboard on Shouwa Genroku Rakugo Shinju Episode 6 / Storyboard on Steins;Gate 0 First Opening Sequence]

Chief Animation Director:Yoshiyuki Ito (Character Designer and Chief Animation Director on Concrete Revolutio / Key Animator on Episodes 1, 5, 7, 9, 12, 15, 18-20, 22, 24-26 on Cowboy Bebop / Character Designer and Chief Animation Director on Hisone to Masotan / Planning on GANGSTA / Key Animator on Kaiji Opening Sequence]

Animation Directors:

  • Atsushi Hasebe [Chief Animation Director on Black Bullet Episodes 1-7 / Animation Director on Kekkai Sensen (Blood Blockade Battlefront) Episodes 5, 11 and 12 / Key Animation on Kekkai Sensen (Blood Blockade Battlefront) Episodes 10 and 12 / Animation Director on Bungo Stray Dogs 2 Episode 10 / Assistant Animation Director on Cardcaptor Sakura: The Movie / Animation Director on Concrete Revolutio: The Last Song (second cour [Season 2]) Episodes 15, 21 and 24 / Animation Director Support and Key Animation on Cowboy Bebop: The Movie Knockin’ on Heaven’s Door / Key Animation on Escaflowne the Movie / Animation Director on Eureka Seven Episodes 19, 25, 27 (assistant to animation director) and 33 (as mechanic designer) / Key Animator on Eureka Seven First Opening Sequence / Key Animation on Planetes Episode 18 / In-Between Animation on Porco Rosso film / Key Animation on Scrapped Princess Opening Sequence / Animation Director on Soul Eater Episodes 11, 20, 30, 39, 47, and 50 / Series Key Animator on Soul Eater / Animation Director on STAR DRIVER Episode 23 / Animation Director and Key Animation on UN-GO Episodes 7 and 11 / Key Animation on Wolf’s Rain Episodes 2 and 10 / Animation Director on Yuyushiki Episodes 4, 8, and 12 / Eyecatch Animator on Yuyushiki Episode 9 / Key Animator on Yuyushiki Episode 1]
  • Haruka Iida [Key Animation on 91 Days Episode 8 / Animation Director Assistant on Boku no Hero Academia (My Hero Academia) Episode 35 / Key Animation on Kekkai Sensen (Blood Blockade Battlefront) Episodes 8 and 12 / Animation Director on Shouwa Genroku Rakugo Shinju Episode 7 / In-Between Animation on Kizumonogatari Part 1: Tekketsu film / 2nd Key Animation on Kizumonogatari Part 3: Reiketsu film / 2nd Key Animation on Tokyo Ghoul Episodes 4 and 5 / Key Animation on Tokyo Ghoul:re Opening Sequence and Episode 8]

 

The universal Shinichiro Watanabe trademark of his shows makes an appearance in Carole & Tuesday–the woolong currency. When we get a new Shinichiro Watanabe series I am giddy with excitement. All of his works are so good! Carole & Tuesday is shaping up to be a spectacular series especially with its two lovable lead characters Carole and Tuesday.

Gus Goldman, whom we’ve seen at the bar drinking his sorrows away for the past two episodes finally gets a chance to shine in this episode. It’s great to finally get to see this guy in action–he was super funny at the end of the previous episode (with that nod to the film The Shining) so I was eager to see how he would handle becoming their manager.

While Carole & Tuesday’s song (Loneliest Girl) gets the attention of A.I. technician Roddy (along with many of his Instagram followers) this episode points out to us that these girls still have a long way to go if they want to make it big in the music industry. This entire episode teaches us that not everything cannot go the way as planned.  I get the feeling that Gus is traditional with his methods–he’s qualified (supposedly according to Wikipedia) having been in a band and we clearly can see this as he’s meeting the girls for the first time at a restaurant. He fell to alcohol finding new hope with unknown talents.  Boasting about familiar artists (name dropping left and right) he has worked with in the past is a bit too hard to believe however his passion and determination make up for it. Especially when it comes to helping these girls get their songs heard– he is admirable and honest from the get-go.  This is big here because it establishes this disparity between independence and reliance. In the first episode, Angela becomes this puppet under the management of media mogul Tao. It’s where we get to see how A.I. systems neglected Angela from the very moment they met and their relationship isn’t exactly great. The restaurant scene here is where we have genuine interactions between the talent (Carole and Tuesday) and the management team (Gus and Roddy) A nice touch is the mention of the tomatoes on their pizza are grown above the restaurant.  Drives home how real Carole and Tuesday are to themselves and how their music is particularly old-fashioned, in the sense of this world’s A.I. defined culture. A strong way for the anime’s creators to depict that even though they live in a society structured around A.I from its products to its entire way of life that there are and still can be places on Mars living in the old ways that don’t have technology do everything for them. It is back to that whole “reliance” idea I spoke about earlier.

I am so glad they waited for three episodes to do this for two reasons. They didn’t cram so much in the premiere episode by introducing us to too many characters for the girls to meet. Secondly, these girls can’t have it happen in a flash. They have to work hard for what they are trying to do with their music. It takes a lot to build a reputation and Roddy’s happenstance gives us a better idea of the world.  While this show is built with a futuristic setting, Carole & Tuesday still holds onto a lot of common themes around pop culture. The use of social media (Instagram, Wikipedia, etc.) These are lots of avenues to take to become successful and this anime uses that to its advantage by giving us a “What if” scenario — Music was written by people has been long gone and with it so has people’s appreciation for it.

Speaking of appreciation, how about that new song “Round&Laundry”? Fantastic. What makes this song even better is its build up. Finding inspiration all around them (hence the title). Heck, even the random guy sitting between them joins in for the beat drops! So authentic! The scene plays like a music video illustrating Carole & Tuesday’s friendship a bit more. Which I certainly hope we get to see more of in coming episodes! This segues nicely into a practice session toying with this idea that the artists of this world might not be happy with A.I. inventing their own music. Especially Angela. Angela’s mother is living vicariously through her daughter and so far it looks like with the best of intentions. he 37 questions is a nod to Vogue’s “73 Questions with Hailey Bieber”  I can really see her performing with the girls in a future episode!

As far as performers go we got a glimpse of DJ Ertegun in the previous episode but it isn’t until now that we can see the hold A.I. can have on its artists and their fans. Ertegun is obsessed with being rich and his image as a DJ. He’s arrogant, patronizing and quite the playboy. His apartment tells a lot about his personality not to mention how muddled the artistic expression has become. The shredded painting on the wall is an obvious reference to Banksy’s “Girl with the Balloon” plus the emphasis on the way it is shown was another homage to the hot topic last year of the same painting presented at an auction. The shredding of the “Girl with the Balloon” which we see in the anime is actually what happened in real life to the popular work (by Banksy himself) after it was successfully bid on. If you are interested in the story you can read about it here.  This really shows us how well-researched this show is even with its visual details. The rest of Ertegun’s apartment is wildly modernistic–the emoji’s stacked together says a lot of about artistic freedom. Ertegun’s narcissistic behavior towards the girls isn’t exactly positive for them–leaving them a bit on edge.  It makes sense why he doesn’t appreciate Carole & Tuesday stepping on his business. He is well-known and appreciated and wouldn’t want to have anyone rising above him. He’s insecure about his own music from the looks of it and wants to maintain his appearance and his “own” music as he says– in the world that doesn’t accept music made by people instead of A.I makes Carole and Tuesday’s songs to be rarer than anything he’s probably heard before. He doesn’t even take a glance at their music! This adds more fuel to the fire that even if others (like Ertegun) shoot down their music they will get up again and play because it’s what they are passionate about. They are two entirely different people that share the same level of enthusiasm and love for music, which is why they have great chemistry together on screen! Like I said before they play to express the emptiness they feel inside. To create something miraculous out into the world even if no one is listening.

I hadn’t noticed it before until I re-watched the last couple of episodes but the lyrics from the episode titles are very much in tune to what is happening in each episode. Last time, the song “Born to Run” by Bruce Springsteen has the following lyrics:

Oh, someday girl I don’t know when
We’re gonna get to that place
Where we really wanna go
And we’ll walk in the sun
But till then tramps like us,
Baby we were born to run

and taking a look back at that particular episode we see that Carole wants to play on a real piano so they sneak into a concert hall where their song is recorded and becomes viral. And then the final lyrics here “Baby we were born to run” — they ran from the police in the first episode after Carole is seen playing real music on the bridge and then in the second episode we see them running again on the same bridge after their session in the concert hall. This third episode follows this trend a little bit with the James Taylor song “Fire and Rain”.

Just yesterday mornin’, they let me know you were gone
Suzanne the plans they made put an end to you
I walked out this morning and I wrote down this song
I just can’t remember who to send it to
I’ve seen fire and I’ve seen rain
I’ve seen sunny days that I thought would never end
I’ve seen lonely times when I could not find a friend
But I always thought that I’d see you again
Won’t you look down upon me, Jesus
You’ve got to help me make a stand
You’ve just got to see me through another day
My body’s aching and my time is at hand
I won’t make it any other way

These lyrics follow towards what happens in this episode. Tuesday had been lonely all this time which is probably why she has run away from home. The sunny days refer to her time with Carole and all the fun they are having even outside of their element of music. Making a stand probably refers to Gus Goldman’s management help. We see the Simmons know that Tuesday is in Alba City and her mom not allowing the police to get involved illustrates the mother/daughter relationship is less important than her political PR campaign. The reversal here is Angela’s mother wants the very best for her but with Tuesday it’s the opposite she thinks this is just some kind of phase and she will be coming back. Carole and Tuesday go to this weird religious cult-like place that isn’t at all what the girls nor Gus would imagine voice training would be correlates to the title’s verse “Won’t you look down upon me, Jesus”.

Personally, I think it would be very funny if this entire show is just one long Space Dandy episode. A spin-off from multi-verse episode in Space Dandy episode 14 (you can read my review on that specific episode here) and it would add even greater comedy if the big reveal is that Tuesday is Honey’s character. I am just waiting for the Dropkix to show up! Just wishful thinking!

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OVERALL IMPRESSION: 10/10

 

Also if you want some more information about this series, The staff has released “Making of videos” entitled Making of a Miracle into three parts. You can view these below. They are in Japanese only and do not contain any English subtitles.

Part 1

Part 2

Part 3

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If you want to support this show, the first Vocal collection album is up for preorder, you can find it here, and it’s opening/ending CD single can be preordered here with an Amazon Japan bonus (also available on vinyl)  both of these albums release on May 29th.

 

Carole & Tuesday Episode 2

Carole & Tuesday, Currently Watching, , ,

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Episode 2 “Born to Run” [from the same name as the Bruce Springsteen song]

Production Details

Episode Director: Shōhei Miyake

Script: Deko Akao

Storyboard: Manabu Okamoto

Chief Animation Director: Naoyuki Konno

Animation Directors:

  • Kenichi Ohnuki
  • Kenji Mizuhata

Marvelous. This show is really something special. The amount of production that have gone into these first two episodes has been spectacular–Shinichiro Watanabe got a lot of talent even from his days on Cowboy Bebop, including sound effects by Shizuo Kurahashi! I really can’t see how Studio BONES can maintain quality each episode on a show like this, it looks so beautiful. On top of that they’ve been producing a lot of animation for quite a few anime series as of late. From Mob Psycho 100 Season 2, Bungo Stray Dogs Season 3, and in the Fall 2019 Boku no Hero Academia Season 4. But then again it’s clear they have a lot of talent at their disposal. BONES has 5 sub-studios that work independently of each other where the staff  (which a lot of them are freelance animators) very rarely crossover for anime produced by BONES.

The runaway Tuesday ends up staying at Carole’s apartment and we get a small view of life outside of the introduction from the previous episode. When it comes to Carole and Tuesday you can clearly see a big gap between them. Tuesday is a rich girl and it is apparent in this episode where we see her mention that her maids cleaned the mansion for her and the effects of this are quite humorous. On the other hand, Carole is already showing signs that she’s gradually growing up. Love the reactions she gives Tuesday after she tries to clean the apartment. At least she tried. That’s what counts, right?

There is a lot of influence when it comes to pulling together in episode with director Shinichiro Watanabe. A perfect example of this is Angela’s fashion shoot. Everything was timed perfectly using the camera shots as the downbeat! Mocky’s score gives off this 80’s feeling and it’s great to see a cast of characters that aren’t in the same clothing all the time. From Angela’s modeling job to Tuesday’s comedic cleaning it is nice to see that this show isn’t heavy on the music so early on. We actually can see these characters have lives way before this show even began. Heck, even Carole attending a funeral not to mention a lot of the people that were hired to attend by the client (which in this case is actually the deceased) drives home this fact that life can become very automated and we just have to go with the motions by behaving a certain way. The manager’s performance so to say is a tried and true example of the saying “putting on airs”. It’s in this moment that we get to see a part of Carole’s childish behavior and that there is still quite a bit she doesn’t know about being an adult. A nice strong lead in to that is we get to see a little bit of her past.

From the get-go, this Tao guy seems to be a bit misguided when it comes to people–he’s surrounded or rather isolated himself with AI and computers to guarantee success when it comes to producing music. Creating that perfect song by using older songs and emulating famous artists. This show carries a lot of warmth to it especially with Carole and Tuesday–most of which their scenes have these lighthearted guitar pieces and piano chord progressions–especially in this episode with the girls at the apartment. Is it just me or does her place look a little like the Bebop from Cowboy Bebop? The couch totally reminds me of it! Like I said before, the two girls have a lot of warmth in their scenes and in their music I am glad by this second episode that it’s effectively noticeable between Tao’s dull lab. From the moment I saw Angela I can tell she’s being held back but wants to be the best there is, at least have the best song there is that speaks to her. She will use anything at her disposal to make that happen and with this world set in the future it’s no wonder that Angela might have bitten off more than she can chew with her agreement in working with Tao on her songs. That chair looks terrifying!

When it comes to music and reminding us that this is just the beginning, Watanabe certainly took his time with his staff to ensure they spend a lot of authentic “practice” time with Carole and Tuesday. They played the song once at Carole’s apartment in the previous apartment and out of excitement we get to see how far they will go in wanting to practice on a larger scale! This is evident after their song The Loneliest Girl receives quite the attention from various people at the stage. One in particular, Roddy and the eventual introduction of that guy at the bar from last episode, Gus. Oh my gosh! That ending really reminded me of Bebop! Too funny!

Since this is a show about music, (the girls made a few name drops including Cyndi Lauper) and Carole’s favorite Crystal (shown in the cast as voiced by Maaya Sakamoto!) Speaking of music, the soundtrack in this episode is absolutely shining. I’ve been listening to Mocky’s previous albums, etc. and I can see why they picked him to do the score. He’s ambitious. A multi-talented instrumentalist that has a wide range to work with. It’s as if Nujabes collaborated with Michiko to Hatchin’s composer Kassin to create this psychedelic collection of texturized sounds, a blend of guitar pop sound riffs, and smooth hip hop keyboards layered onto thick drum beats. It doesn’t stop there because he’s been able to effectively capture each scene nicely–from the church to Carole’s apartment, the DJ’s techno/electronica performance (while at first seems ridiculous) however it illustrates how dependent music can become with technology and then that incredible scene right after the girls practice on stage! Loneliest Girl is without a doubt one of the most beautiful songs I’ve heard in an anime and it’s still being fine tuned by them!

I really want to see the Dropkix (Dandy and Johnny’s band from episode 20 of Space Dandy) make an appearance. That would be icing on the cake for me!

OP: “Kiss Me” by Carole & Tuesday (by Nulbarich feat. Nai Br.XX & Celeina Ann)

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Directed by: Bahi JD

Storyboards: Bahi JD

Concept Art: Tadahiro Uesugi

Backgrounds: Jun Kumaori

Animation Supervisor: Bahi JD

Key Animators:

  • Jonathan Djob Nkondo
  • Till
  • Chengxi Huang
  • Spencer Wan
  • Yuuki Yonemori
  • Hakuyu Go
  • Masami Mori
  • Takashi Mitani
  • Takafumi Hori

What a powerhouse staff that worked on this opening! And a positive vibe this opening gives us. Based on image board art by Tadahiro Uesugi by blending this style of 18-century and urban city life with an edginess that holds a lot of heart and warmth. You can see a few of them below. D4apWZLUcAENY0b

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Especially in the movement of its characters. I absolutely adore the color choice in this. We shift from the 18th-century that carries shades of blues and off-white to an urbanized city-life with Carole’s side that holds a lot of different colors. Overall the visuals have this chalky feel to it.

Awesome! We finally get to see the band Nulbarich’s work on this show! The music takes this effect from the very start with a light guitar and shifting with small hip-hop beats. The dance sequence with the girls (and the eventual crowd) is an attractive way for this show to lure the viewer with its music performances. Great tie-in to the overall encompassing theme about “creating music for yourself” and it’s very strong at the end of this incredibly animated opening sequence! I really like the flow of this entire sequence, from the character animation right down to the song, just everything is so smooth! These worldwide auditions paid off. Nai Br.XX and Celeina Ann were great choices for this as their voices in this work together beautifully!

 

OVERALL IMPRESSION: 11/10

And it’s certainly NOT A TYPO! THIS EPISODE WAS PHENOMENAL!