Tag Archives: Action/Adventure

Shisha no Teikoku [Empire of Corpses] [Theatrical Edition] [41/100]

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Animation Production: WIT STUDIO ( Shingeki no KyojinHalHozuki no ReitetsuKabaneri of the Iron FortressMaho Tsukai no Yome: Hoshi Matsu Hito OAV, Owari no SeraphThe Rolling Girls / In-Between Animation on Subete ga F Ni Naru: The Perfect Insider / Production Assistance on PSYCHO-PASS 2‘s Opening Sequence)

Director:  Ryotaro Makihara ( Key Animator on Monster episode 12 / Episode Director, Storyboard and Key Animator on Guilty Crown episodes 4, 11 and 21 / Key Animator on Shingeki no Kyojin episodes 17, 18 and 24 / Key Animator on Summer Wars / Key Animator on Colorful / Storyboard, Director and Production on Hal)

Sceenplay: 

  • Hiroshi Seko ( Script on Shingeki no Kyojin OVA “Iise’s Notebook” / Series Composition on Owari no Seraph and Nagoya Kessen-hen / Script alongside Kazuki Nakashima on Kill la Kill episodes 5 / Script on Garo: Honoo no Kokuin episode 4)
  • Koji Yamamoto ( Chief Producer at Fuji TV [the company that established Noitamina] / Assistant Producer on hentai Countdown / Screenplay on Harmony / Chief Producer on many of Noitamina’s works since Hataraki Man in 2006 / Chief Producer on the three NOISE broadcasting company works Ristorante ParadisoAoi Hana and Michiko e Hatchin)
  • Midori Gotou ( Series Composition on Hozuki no Reitetsu / Script on Yondemasu yo, Azazel-san episodes 2, 5, 6, 9 and 10 / Script on Hozuki no Reitetsu episodes 1, 2, 3, 4 and 13)d

Original Creators: 

  • Project Itoh ( Original Creator on Genocidal Organ / Original Creator on Harmony)
  • Toh Enjoe ( Script on Space Dandy episode 11 / Guest Character Draft Designer and Script on Space Dandy 24)

Original Character Designer: redjuice ( Ending Illustration on Shingeki no Kyojin episode 19 / Original Character Designer on Genocidal Organ / Original Character Designer, Designer of the Steiner A9 from episodes 21 and 22, Ending card Illustration and Illustration on Guilty Crown‘s Ending Sequence / Conceptual Design on Vividred Operation / Ending Card Illustration on Wooser’s Hand-to-Mouth Life / Ending Card Illustration on Haganai episode 6)

Character Designer: Takaaki Chiba ( Chief Animation Director on Shingeki no Kyojin episode 3 / Titan Animation Director on Shingeki no Kyojin OVA episode “Iise’s Notebook” / Animation Director assistant on Le Chevalier D’Eon episode 12 / Animation Director and Key Animator on Le Chevalier D’Eon‘s Opening Sequence / Key Animator on Hyouge Mono episode 1 / Key Animation on Ghost Hound episode 7 / In-Between Check on Noir episodes 15, 18 and 26 / Key Animator on Noir episodes 1, 5, 14, 16, 22 and 26 / Animation Director, Design and Key Animator on Sengoku Basara The Movie)

Music: Yoshihiro Ike ( Music Composer on Armored Trooper Votoms Case;Irvine OAV, Asura film, Blood: The Last VampireCobra: The AnimationDead Leaves OAV, Ergo ProxyFlagFreedom OAV, Genocidal OrganKaras OAV, Kuroko’s Basketball Seasons 2 and 3Noblesse: AwakeningShingeki no Bahamut: GenesisReideenTiger & Bunny series and compilation films)


A Noitamina produced film based on the late Project Itoh writer, who died in 2009 of cancer.  Toh Enjoe, the physicist and writer of Space Dandy‘s incredible Episode 11 and wacky love romance Episode 24 vowed to complete his novel before Itoh’s death.  At first, I was excited to hear his works receiving any sort of adaptation. Shisha no Teikoku has similar ties to WIT STUDIO’s current work Kōtetsujō no Kabaneri and the acclaimed Shingeki no Kyojin. If you are looking for an entertaining film, I highly recommend this as it is set in an alternate timeline of the renaissance period mixed with a somewhat familar narrative around scientific reanimating of corpses.  The corpses in this act similarly in the treatment of the zombie threat in this season’s Kabaneri.  There are many action sequences and you can tell that WIT STUDIO polished this up nicely with a balance of body horror and steampunk.  

The first 25 minutes are fantastic as it slowly introduces John Watson (yes that John Watson of Sherlock) in the lead role in discovering how to bridge the gap between bringing a soul back to a dead body, Herbert West style. [If you don’t know Herbert West: Reanimator, it’s a short story created by H.P. Lovecraft in 1922]  John Watson’s companion, who turns out is a corpse, is the body of his old friend, Friday–a heavy nod to Robinson Crusoe’s companion  Friday. The idea to use Friday at the center of this story is a pointed reference to British literature. Completing a corpse with a soul is obvious and traces back to the history behind the Robinson Crusoe novel.  In Trieste, Italy (1912), Irish Novelist James Joyce gave lectures on how Robinson Crusoe embodies the English mindset:

The true symbol of the British conquest is Robinson Crusoe, cast away on a deserted island, in his pocket a knife and a pipe, becomes an architect, a knife-grinder, an astronomer, a baker, a shipwright, a potter, a saddler, a farmer, a tailor, an umbrella-maker and a clergyman.  He is the true prototype of the British colonist, as Friday (the trusty savage who arrives on an unlucky day) is the symbol of the subject races. The whole Anglo-Saxon spirit is in Crusoe.” ~ James Joyce

It is this quote that translate many Shisha‘s themes.  Britain’s way of life with corpses living in the streets, doing daily chores, and in some sense this film set a firm beginning in establishing a Victorian world that welcomes death instead of fearing it.  This is the strong segment of Shisha‘s story.  According to history around this time, there was an obsession with the dead being able to speak with spirits and even entering death themselves. Many loved ones passed way before their time from wars both close to home and from afar.  This idea to communicate with spirits were common among the British because to converse with the ones they lost would ultimately give them closure.  It’s a shame that this wasn’t further explored during John Watson’s research regarding corpses.  

Once the first 25 minutes pass and the Russian scientist and corpse engineer Nikolai Krasotkin enter the picture I felt this film was starting to get flimsy.  Shoving references that seemed unfitting to be in this turn-of-the-20th-century piece.  Using Paul Bunyan as an instrument of evil? Doesn’t make too much sense to use an American historical figure for this unless it was to depict their evil nature.Onboard the Richmond that’s heading for America, Ulysses S. Grant relays information about the Writing Ball that was found in the Osoto Chemical Facility in Japan as a way to convince John Watson to analyze the First.  The First is the only corpse with a soul and as it turns out is the bride to the One, the villain in this film.  Rather he’s one of them out of a few of the leaders of the countries the main cast travel to.  

Speaking of the cast, most of the characters seem to work together pretty well except for one.  Hadaly.  She’s completely out of context for this dark film–her character design is purely for fanservice reasons.  Perhaps it’s because she’s a robot either way this was a mistake on lead designer Takaaki Chiba’s part.  Given how visually grim (and stunning) this film’s backgrounds  were this choice in her visual appearance makes most of her scenes less serious even when they tried to dress her up in Victorian clothing in the later half of this film.  

I’m not sure if it was Project Itoh that tied in most of these references or Toh Enjoe but it didn’t try to be original in the characterization.  According to history, Charles Babbage was the grandfather of computing but in this film he builds the analytical engine and Victor Frankenstein turns out to be this stereotypical take over the world old man villain. A trope that has been overused since the ’80s.

This film in some ways is a sequel to Marry Shelly’s work Frankenstein set in an alternate world.  Perhaps both Project Itoh and Toh Enjoe didn’t fully understand Frankenstein as a monster.  Watching this, I felt, that the soulless and empty Friday represented the classic monster more than this film’s suggested villain.  We this emphasis with his friendship to John as we see a flashback depicting a promise they made in order to understand one another.  Simiilar Even though we see Burnaby fighting a strikingly similar looking Frankenstein in the engine room–Shisha‘s long and drawn out conclusion was poorly written and poorly executed.  The final arc was written by Toh Enjoe and even without reading the knowing the source material at heart I felt as though the story was losing focus on its characters especially with a lackluster and somewhat confusing ending.  That is, if you don’t see the post-credits scene.  It’s a shame that Project Itoh passed away when he did because I would have loved to have seen what ending he was set on writing. 

I know that overusing references is a tiresome point of this film, the biggest highlight for me, surprisingly enough, was the post-credits scene. I’m a huge Sherlock Holmes fan and I certainly enjoyed his appearance and getting a glimpse of a Sherlockian adventure in this film was quite the treat!  

All in all this film points out WIT STUDIO’s flaw as an animation studio.  They are afraid of taking risks. They know how to make series that sell by sticking with what they know on how to produce.  WIT lacks creativity.  Using dead people as a way to channel an emotional impact on the audience has been oversold in the anime industry. Especially when you take into consideration how this film and Kabaneri are riding on the coattails of Shingeki no Kyojin‘s success.  Whether its Titans, zombies, or vampires– much of it is the same; they rely heavily on one trope–Nightmare Fuel.  A disturbing idea [zombies] that play up on a primal fear (which in this case is humanity losing itself to mindless beings) in order to capitalize on a compelling (and hopefully rewarding) dramatic story.  It’s a collection of themes and tropes that have been recycled within the past 5 years! Let’s see something entirely different WIT!

OVERALL IMPRESSION: [41/100]

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Kekkai Sensen Episode 6

Episode 6 Production Details

Episode Director: Tomoyuki Kurokawa ( Director and Storyboard on Seikoku no Dragonar Ending Sequence / Director on Concrete Revolutio: Choujin Gensou The Last Song Opening Sequence / Storyboard and Episode Director on Un-Go episode 8 / Assistant Director on Naruto Shippuuden episodes 290 and 293 / Episode Director on Seikoku no Dragonar episodes 1, 5, 8, 9 and 12 / Episode Director on Baby Steps episodes 15 and 24 / Storyboard on Kuroko no Basket episode 20)

Storyboards: Kenji Nagasaki (Episode Director and Storyboard on Monster episodes 14 and 45 / Storyboard on Robotics;Notes episode 5 / Storyboard on No. 6 Ending Sequence / Director and Storyboard on No. 6 Opening Sequence / Director and Storyboard on Zetsuen no Tempest Second Opening Sequence)

Script: Kazuhisa Furuya (Series Composition on Kekkai Sensen)


Kekkai Sensen is a unique style of storytelling.  In the same way that Space Dandy told its collection of stories on different planets and aliens this one chooses aliens as an outlet for entertainment.  And a wild one at that!  This series just keeps getting better and better every episode!

This time around Leonardo befriends Nej – Amagranoff Luozontam Ouv Lee Nej.  Wow that is some name!  A mushroom alien with a love for hamburgers and not just any burgers.  Jack & Rockets’ burgers.  This anime, like Space Dandy, did with its creative humor doesn’t shy away from amalgams and in this episode we see that the popular restaurant chain is a combination of U.S. company’s Jack in the Box and Johnny Rockets.  This is a good way to tie in previous episodes with Leonardo and Zapp eating hamburgers giving us a familiar look at a setting and putting a different spin on it.  This episode held a very different tone than previous ones.  Leonardo’s friendship with Nej is heartwarming and this illustrates our main character’s personality and characteristics firmly to the story.  He’s a good guy with an intolerance for injustice.  Even if that injustice stems from the smallest of actions.  Small actions lead to larger consequences and Kekkai Sensen narrative is a first of its kind to show us how these aliens experience discrimination.

At first, Nej is run over by two Jack & Rockets’ drivers but as the events unfold his situation only becomes more grim.  Things seem to settle down when the two decide to give him a bag of hamburgers for the trouble but when they encounter him again is where things take a turn for the worst.  One of the drivers, Roger, beats Nej in brutal fashion in order to cover up their accident.  Martin wearing a mask reveals Nej’s hidden ability–when he becomes stressed he turns red, loses spores resulting in an amnesia event for anyone around him.

The second beating of Nej turns out to be disturbing visually.  Illustrating a dark side to humans in this fictional New York.  People that hate aliens just because they do. And at this point has Martin (the other driver) desiring this amnesia power Nej holds.

The aftermath has a Space Dandy style written all over it–ridiculous yet relatable.  Leo’s friendship with Nej shows the care he has for others.  He’s in some ways carefree even though just about every episode he’s attacked by Zapp or other episodic villains.

After Leo and Nej are kidnapped and Nej is beaten up (for a second time), he explodes again showing us a recurring storyline until we get to the final few minutes of the episode where more of the main story unfolds.  This was a fantastic episode full of feels!  There is also the Trigun reference “Love and Peace” from White towards the beginning of this episode speaks levels about Leo’s relentless compassion!

The music score in this was amazing!

Animator Spotlight: 

Takashi Hashimoto

Style: CGI, Mecha animation, smearing animation motion, Smoke effects and liquid effects.

[Previous Works Include]

  • Kyousogiga Episode 0 [Key Animator]
  • Mononoke Episode 12 [Key Animator on Close up cat sequence during the Bakeneko Arc]
  • Casshern SINS Episode 7 [Key Animator on tower building crashing down]
  • Bastard!! Episode 3 [Key Animator on fight sequence especially his work during the demon morphing scene]
  • Gatchaman CROWDS Opening Sequence [Key Animator on the final segment before episode starts up in Part A]
  • Kemonozume Episode 13 [Key Animator on fight sequence between Yuka and Toshihiko right after the Opening Sequence]

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OVERALL IMPRESSION: 10/10

Arslan Senki Episode 13

Episode 13 Production Details

Episode Director: Takashi Yamazaki [Also credited as Takayuki Tanaka, as a pen-name] ( Key Animator on Yu Yu Hakusho episode 79 / Storyboard alongside Masami Shimoda & Takuya Sato on Selector Infected Wixoss episode 11 / Episode Director on FullMetal Alchemist: Brotherhood episode 23 / Episode Director on Shokugeki no Soma episodes 16, 20 and 21)

Storyboards: Takashi Yamazaki

Script: Makoto Uezu ( Script on D-Frag! episodes 1, 3, 4, 8 and 12 / Series Composition on Akame ga Kill! / Script on Arslan Senki episodes 1, 2, 3, 7, 8, 13, 17, 24 and 25)


I cannot believe it has been since November that I last discussed this anime series.  Amazing how time flies and I’m glad to be getting back into re-watching this show.  After this episode there was a recap for the next week when it aired.

Finally!  We’re at Peshawar, the last outpost of the Pars Empire for everyone’s journey.  With the return of Narsus and the young girl he saved, Alfried presents to us a new theme in this series in more ways than one.  Respect and how it can be earned.  Narsus was once well-respected within the Pars army even by its King for his unparalleled abilities as a tactician. Elam’s comical banter with Alfried in this episode illustrates how this group is going to become stronger as time goes on but that its bound by the loyalties of two men–Narsus and Arslan.  Narsus gained the respect of Daryun a long time ago and and while he has his duties as a knight to be a shield for Arslan, Narsus is becoming the strength the young prince needs.

This episode even points this out with Kishward’s arrival and it solidifies Arslan’s principles to rebuild the entire social structure from the ground up.  Quickly we see that Arslan has shown potential to be an honest King when he says that “If we don’t make the new kingdom a better place, there’s no point in fighting for it”.  This statement alone sums up nicely his rationale of thinking!  Exactly the opposite of what Hermes’ goal is–he doesn’t care how the country ends up just that he rules it out of revenge of the King of Pars for stealing everything from him.  Which is why he’s going after Arslan and anyone related to the family.  Bahman being reintroduced here brings up what had troubled him when he was first introduced–Arslan’s origins.  When Hermes sneaks into Peshawar to confront Arslan is right where Bahman’s role is somewhat similar to Vahriz was to Arslan.

I really like how we actually get to see a flashback of a young Hermes training with Bahman.  Having built up rage inside of him and incredible swordsmanship we get a brave yet terrified view of Arslan–realistic for a 14-year old boy to act in life or death situation.  Unfortunately though Hermes’ over-exaggerated performance is his undoing when Arslan aims the torch towards him depicting he has a fear of fire due to his past.  Seeing Narsus, Daryun, Falangies and Kishward come in to save the day was rewarding.  Simply because this series’ past couple of episodes has been about gaining the trust of companions and Bahman getting killed at the hands of Hermes enhances this incredibly well! Fantastic episode!

It’s a shame that the animation by LIDEN FILMS and Sanzigen is extremely thick and heavy in this show. It doesn’t work too well. Those fight scenes could have been more fluid than what we got and there were many times that the character models were not completely drawn in.

OVERALL IMPRESSION: 8/10

Kiznaiver Episode 1 [Initial Impressions]

PLOT: The story takes place in a fictional Japanese city named Sugomori City. One day, Noriko Sonosaki tells her classmate Katsuhira Agata, “You have been selected to be a Kiznaiver.” The Kizuna System, which allows Katsuhira to share his wounds, connects him to the classmates whose lives and personalities completely differ from his.

The Kizuna System is an incomplete system for the implementation of world peace that connects people through wounds. All those who are connected to this system are called Kiznaivers. When one Kiznaiver is wounded, the system divides and transmits the wound among the other Kiznaivers. Sugomori City is built on reclaimed land, but as the years go by, the city’s population is decreasing. The story is set in this town where Katsuhira and the others live. ~ANN


Animation Production: Studio TRIGGER ( Inferno CopLittle Witch AcademiaKill la KillInō-Batoru wa Nichijō-kei no Naka deNinja Slayer From AnimationSpace Patrol Luluco)

Director: Hiroshi Kobayashi ( Storyboard and Episode Director on Yozakura Quartet: Hoshi no Umi / Storyboard and Episode Director on Kill la Kill episodes 5 and 18 / Key Animator on Kill la Kill episode 23 / Storyboard on Shingeki no Bahamut: Genesis / Storyboard on PSYCHO-PASS 2 episode 9 / Storyboard on Death Parade episode 9 / Director and Storyboard on Yozakura Quartet: Hoshi no Umi and Hana no Uta Ending Sequences)

Series Composition: Mari Okada ( Script Writer on Zetsuen no Tempest episodes 1, 2, 4, 7, 17, 18, 23 and 24 / Series Composition on Selector Infected Wixoss / Series Composition on Zetsuen no Tempest / Script Writer on Rurouni Kenshin OVA’s 6 and 7)

Character Designer: Mai Yoneyama ( Chief Animation Supervisor on Kiznaiver / Key Animator on Punch Line Opening Sequence / Key Animator on Kill la Kill Second Opening Sequence / Key Animator on Shinsekai Yori episodes 1 and 25 / Key Animator on Death Parade episode 6 / Key Animator on BLEACH episode 341 / Assistant Chief Supervisor on Kill la Kill episode 13)

Music: Yuuki Hayashi ( Music Composer on Blood LadClassroom Crisis, Death ParadeHaikyu!!Boku no AcademiaRobotics;NotesSoul Eater Not!)

Episode 1 Production Details

Episode Director: Yoshihiro Miyajima ( Production Advancement Role on Kill la Kill episodes 3, 7, 16 and 22 / Production Advancement Assistant under Studio TRIGGER on Patema Inverted film / Production Advancement on Sword Art Online episode 8 / Episode Director on Inō-Battle wa Nichijō-kei no Naka de (When Supernatural Battles Became Commonplace) episodes 2, 7 and 11)

Storyboards: 

  • Hiroshi Kobayashi ( Director and Storyboard on Yozakura Quartet: Hoshi no Umi and Hana no Uta‘s Ending Sequences / Storyboard and Episode Director on Kill la Kill episodes 5 and 18 / Storyboard alongside Shoko Nakamura on Kill la Kill episode 22 / Storyboard on Noragami episode 5 / Storyboard on Punch Line episode 6)
  • Kazumasa Ishida ( Key Animator on Vividred Operation episode 4 / Key Animator on Kill la Kill episodes 4, 5, 11, 14, 15, 18, 20, 22, 23 and 24 / Key Animator on Terra Formars episode 5 / Key Animator on Subete ga F ni Naru: The Perfect Insider episode 3)

Script: Mari Okada ( Script Writer on Rurouni Kenshin OVA’s 6 and 7 / Series Composition on Selector Infected Wixoss / Series Composition on Kidou Senshi Gundam: Tekketsu no Orphans / Series Composition on Mayoiga / Series Composition on Zetsuen no Tempest)


Studio TRIGGER was first established in 2011 by Hiroyuki Imaishi and Masahiko Ohtsuka shortly after they left Gainax.  I bet you all have heard Imaishi’s name before.  His directorial debut came from Tengen Toppa Gurren Lagann one of the most popular series of the 2000’s.  Fast Forward a bit to 2013 when TRIGGER began their first two full-fledged animated work in the Fall 2013 season with Kill la Kill and Inō-Batoru wa Nichijō-kei no Naka de.  Kill la Kill was brilliant as it used a societal structure focused on fashion and ended up being entertaining and highly sexualized.  The other show they aired was an adaptation of Kota Nozomi’s light novel of the same name.  Following in Gainax-esque style and in line with Kill la Kill it has the marks of cartoonish and comedic character animation with many scenes in stilted frames. There are many references and even cameos of characters from Kill la Kill in the show that just remind us that TRIGGER isn’t about pretty.  They’re an animation studio with a whole lot of wacky artist charm.  This season we actually have two series airing that are being produced by TRIGGER.  The first one is an animated short entitled Space Patrol Luluco, which I will discuss later in another post.  The other is Kiznaiver.  An original work in both animated format and manga launching at the same time.  From the visuals, Kiznaiver is far from what Ninja Slayer was last year–it looks entirely normal!  At least that’s what the first episode is making us believe right now!  Immediately I was interested in how different the staff is for this show.  First time that Mari Okada is writing a script for a TRIGGER series and it looks like Kobayashi Hiroshi got a promotion because this is the first time he’s lead director on an anime!  He previously storyboarded some pretty incredible episodes including Death Parade‘s episode 9 about two men with secrets challenging each other at ice hockey.  I’m eager to see what Hiroshi has in store for future productions!  Then there’s Death Parade and this season’s Boku no Hero Academia composer Yuki Hayashi composing Kiznaiver‘s score.  This first episode was one of the more unique premieres that I’ve seen so far this season.

Smart move to start this show up with a known face from TRIGGER and Gainax– Yoshinari Yoh.  His style stems from using very expressive morphing effects and running animation.  The backgrounds during this part remind me a lot of the flashback scenes of Kill la Kill lots of red and black with a heavy amount of grain.  This looks very cool in 4K.  This episode’s pacing is mellow.  My first thought was this is a TRIGGER series so where is all of the rapid-fire humor and highly animated energy?  There’s a few running sequences that are animated with tons of movement involved but they aren’t as wild as Kill La Kill or Panty & Stocking‘s.  The scenes that do have them in Kiznaiver are animated by another TRIGGER employee– Kai Ikarashi.  And then I remembered that Hiroyuki Imaishi’s complete attention is on TRIGGER’s other show Space Patrol Luluco.  It’s good to see him passing off the reins to someone else for a change.  I’m curious how Kiznaiver is going to turn out without him or if he will develop anything for this show at all.

The narrative of this episode focuses on high-school student Agata Katsuhira and his connection with others.  Even though he is literally numb to pain.  He’s been getting beaten up by classmates all his life–the typical setup of a high-school boy gaining mysterious powers through tragedy.  Why did TRIGGER decide on high-schoolers for this show?  It would have been more interesting if they were from completely different age groups.  Putting my gripes aside about this Agata is very different compared to the other Kiznaivers.  He’s a wimp and that leaves a lot of development for him in the future.  During his conversations with Chidori Takashiro and Hajime Tenga you might notice he’s a total introvert.  It isn’t until he meets Noriko Sonozaki that he shows off some personality.  Noriko abducts Agata, Niko Niiyama, Chidori, Maki Honoka, Tsuguhito Yuta and Hajime Tenga. Stumbling over his words and showing a timid side illustrates how beaten down he is by Noriko mentally.  As little as we see of the rest of the Kiznaiver cast when they’re on screen together we get a glimpse of how quirky and interesting their personalities are.  Leading to an incredibly animated scene cut, possibly 3d rendering was involved in it?

Kiznaiver is full of philosophical themes.  The idea of empathy about sharing each other’s pain to reduce conflict throughout the world is fascinating but what surprises me the most about Kiznaiver‘s premiere is how the pacing is. We get a slice of life story in the beginning that throws at us an overused trope–kids are cruel.  At least it that’s what we’re led to believe until we see that Agata can feel no pain.  Turning him into a sacrificial person without a connection until towards the end of this episode.

Moving onto the next philosophical motif we’ve got the ending phrase that’s been used throughout this episode– “One for all, all for one”.

Derived from the Latin phrase “Unus pro omnibus, omnes pro uno” it was suggest that it was first popularized in in Alexandre Duma’s “The Three Musketeers” and not long after became the official motto of Switzerland.  In the late 1800’s Switzerland officials used the phrase to evoke a sense of duty due to widespread flooding in the alps to promote charity work and earn donations.  In general the term refers to a group against all attacks upon the group being that if a sacrifice is made to protect the group it would become a noble act.  There is speculation as to where exactly this phrase came from as it appears in a lot of works and original stories.  This term is also seen in the Bible.

Corinthians 12:26: If one part suffers, every part suffers with it; if one part is honored, every part rejoices with it.

It’s this idea that brands Kiznaiver‘s cast with allegorical themes for the sake of developing them throughout future episodes.  I like how little we learn about the other high schoolers but what we do know is through their actions. Hajime Tenga tries to feel up Niko Niiyama resulting in their first encounter with the Kizuna that’s been injected into them. I feel we will begin to see some similarities between them as they learn how to cope with the Kizuna System.


OP: “LAY YOUR HANDS ON ME” by BOOM BOOM SATELLITES

Directed by: Takaashi Horiuchi

Storyboards: Horiuchi Takashi

Animation Supervisor: Mai Yoneyama

Notable Key Animator: Hiroyuki Imaishi

Oh..there he is!  Hiroyuki Imaishi lent his creative talents to the opening sequence.  Now I can see where his spastic style comes in at the very beginning with that visualizer scene!  This is such an incredible opening sequence! Everything flows together so smoothly.  Did the do a ton of 3D rendering for this series including its opening sequence?!  If so this looks visually stunning.  Boom Boom Satellites new song translates strongly into what the series reflects upon with pain and this idea that people can be connected to each other through it. One of my favorite openings of Spring 2016!

ED: Hajimari no Sokudo (はじまりの速度)” by Sangatsu no Phantasia

Directed by: Yuki Watanabe

Storyboards: Yuki Watanabe

Animation Supervisor: Yuki Watanabe

Notable Key Animator: Mai Yoneyama

This ending isn’t as amazing as its opening but its still good in my book.  Bright panel scenes of the characters mixed with still shots.  I like how there is a slight grain and blurry effect to emphasize that there is going to be a a social aspect to this series than just the Kizuna System.  Is it just me or does the song and the style of the visuals feel like the entire sequence was done by Takuya Igarashi of STAR DRIVER and Captain Earth? I get that vibe when I see this ending.  Interesting how the male characters aren’t shown but Agata is only depicted with actions of his hands and feet. The flowers seem to represent a loss or forgiveness of feeling one’s pain.

I’m trying something new with these posts featuring animated sequences. Hope you all enjoy this! I did a few with ONE-PUNCH MAN Episode 3.

Animator Spotlight:

Kai Ikarashi

[Previous Works Include)

  • Terra Formars episode 5 (Key Animator)
  • ONE-PUNCH MAN episode 7 (Key Animator)

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Sushio

[Previous Works Include]

  • Mushishi episode 16 (Key Animator)
  • Tengen Toppa Gurren Lagann episode 7 (Key Animator)

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OVERALL IMPRESSION: 8/10

Kekkai Sensen Episode 5

Episode 5 Production Details

Episode Director: Sueng-hee Son ( Episode Director on Tengen Toppa Gurren Lagann episode 3 / Episode Director on Concrete Revolutio: Choujin Gensou / Episode Director on Gundam Build Fighters episodes 5, 10, 15 and 20)

Storyboards: Rie Matsumoto ( Assistant Director on Yes! Precure Movie 5 / Director and Storyboards on Kyousogiga / Storyboards and Episode Director on Saint Seiya Omega episodes 3 and 10)

Script: Kazuhisa Furuya ( Series Composition on Kekkai Sensen)


Abrhams still in Hellsalem’s Lot helps Klaus in protecting Dog Hummer.  A pretty boy that’s reminiscent of Vash the Stampede from TRIGUN an earlier work (1995) of Yasuhiro NIGHTOW’s. Since Kekkai Sensen premiered every episode has been a sensory experience–between stunning visuals, a killer soundtrack and the vast amount of talented seiyuu taking part in this BONES animation production.  Add to this list Miyano Mamoru (the voice of Dog Hummer and Steins;Gate‘s Rintarou Okabe!)  and Keiji Fujiwara (the voice of Deldro Brody and Karas‘ Nue).  The fact they share the same character builds on the foundation of what this episode is really about.  A crazy girl in love with two men and how far she goes with her obsession with the two of them.

Grinding up Deldro Brody and injecting him inside of Dog Hummer re-establishes just how creatively wild Kekkai Sensen can shape into!  Koorogi Satomi was a perfect choice for Aligura–a risky and well versatile seiyu with a lot of range between deep low voice acting to extremely high-pitched voice work!  Aligura was the spotlight of this entire episode because she can barely contain her lunacy in that she’s willing to destroy an entire city to be with Brody & Hammer!

This episode dives even further into anime original material as we learn more about White’s brother. I really like how this show is jumping between original manga material with Femt and filling it up with brand new content just for the anime!  This was the first time seeing Femt meeting White’s brother leaves a lot to guess as to how this show will end and what role Femt will play throughout the rest of this.  Mystery surrounding this series possible villains is a good way for this show to highlight it’s minor cast and build up an even large supernatural fictional New York setting!

Klaus’ role in this was interesting because he ends up stealing Deldro’s composite from the crash site–Aligura was quite anxious to get it back.  Makes me wonder if she is an Elder 13.  In any case, it’s implied strongly that she is by the end of this episode.

As for the rest of this episode it’s mostly anime original content between White and Leonardo’s budding romance–can’t believe the film they are watching is a goofy spoof of the American film “Twins”!  Haha!  Fantastic!  It’s episodes like this one that remind me that anime with source material can work together nicely with deviations using original content.  Aligura capturing Leonardo and asking him all sorts of questions about romance and if he has a girl that he cares about built up Leonardo to ask White out on a date wonderfully.  He’s become even more courageous in taking her out of her hospital bed to see a film and it pays off! Amazing ending!

I’d like to see more of Aligura she was hilarious in this episode!

OVERALL IMPRESSION: 10/10

Kizumonogatari I: Tekketsu-hen [Theatrical Edition]

Animation Production: SHAFT (Soredemo Machi wa Mawatteiru, Arakawa Under the BridgeNisekoiMonogatari seriesef: A Tale of MemoriesG-On RidersHidamari SketchKatteni Kaizo OVAKino no Tabi: The Beautiful World filmMaho Sensei Negima! OAVsMahoromaticMagical Suite Prism NanaPuella Magi Madoka MagicaMaria HolicMekakucity ActorsMoonphasePani Poni Dash!RECSayonara Zetsubou-SenseiKono Minikuku mo Utsukushii Sekai)

Director:  Akiyuki Shinbo ( Director on Dance in the Vampire Bund / Director on Arakawa Under the Bridge / Chief Director on Hidamari Sketch / Director on Bakemonogatari / Director on Mekakucity Actors / Chief Director and Series Composition on Monogatari Series Second Season / Chief Director on Nisekoi / Director on Puella Magi Madoka Magica / Storyboard on Saber Marionette J episode 11 / Director on Sasami-san@Ganbaranai / Director and Storyboard on Starship Girl Yamamoto Yohko episodes 1 and 3 / Key Animator on Tokyo Babylon OVA / Episode Director and Storyboard on Yu Yu Hakusho episodes 7, 12, 16, 21, 24, 30, 35, 41, 47, 52, 58, 66, 74, 82, 89 and 109)

Chief Director: Tatsuya Oishi (Key Animator on Yu Yu Hakusho episodes 71, 74, 78, 82, 89, 92, 98, 104, 107 and 112 / Key Animator on Ninku episodes 4, 9, 11, 16, 21, 24 and 31)

Script: 

  • Akiyuki Shinbo
  • NisiOisin

Original Creator: NisiOisin ( Original Creator on Death Note: Another NoteBakemonogatariHanamonogatariKatanagatariKizumonogatari Parts 1, 2 and 3Medaka BoxKoyomimonogatariMonogatari Series Second SeasonNekomonogatariNisemonogatariOwarimonogatariShojo FujubunTsukimonogatarixxxHOLiC: Another HOLiC)

Music: Satoru Kousaki ( Music Composer on A-ChannelBakemonogatariCaptain EarthHourou Musuko, Disappearance of Haruhi SuzumiyaLucky StarNisekoiOreimoSTAR DRIVERTantei Opera Milky HolmesWake Up, Girls! / Theme Song Arrangement and Composition on Natsume’s Book of Friends Season 4 Ending Sequence)

Characer Designers:

  • Akio Watanabe ( Character Designer on all of the Monogatari series / Original Character Designer on Grisaia no Rakuen / Animation Director on Saber Marionette J episodes 10 and 18 / Key Animation on Street Fighter Alpha / Character Designer on Kami Nomi zo Shiru Sekai)
  • Hideyuki Morioka ( Key Animation on Agent Aika episode 7 / Character Designer, Chief Animation Director, and Key Animator on Arcade Gamer Fubuki 2nd Stage – Nusumareta PP episode 4 / Key Animation on Sailor Moon S episode 92 / Character Designer and Chief Animation Director on REC / Character Designer and Chief Animation Director on Zan Sayonara Zetsubo Sensei)

When Bakemonogatari had first aired back in 2009 two things immediately stood out to me:  SHAFT’s unique visual style and the very first five minutes of episode 1.  Split into three parts, this is the film series that introduces us to how exactly Koyomi Araragi became a vampire, meets Tsubasa Hanekawa and Meme Oshino.  This film kept pretty much in line with the designs made for the 2011 trailer.  The TV anime Bakemonogatari while held a lot of restraint in terms of animation in the beginning it showcased a few pivotal scenes played out in this film–Araragi’s encounter with the vmapire hunters and discovering Heart-Under-Blade.  There were changes from the original scene cut that they did and overall turned out fantastic on the big screen!  Such as Heart-Under-Blade being in the subway rather than on the streets.

Kizumonogatari was originally slated for 2012 and the novel dates back to 2008.  There’s been numerous delays for its release and it certainly paid off. Love the visual style going for this film, one I wish they could have used for the television series.

The opening sequence was a visual feast.  Director Shinbo was in charge of animating that first scene and I must admit that was one of the prettiest things I’ve seen SHAFT do in a long time.  The crows remind me of Zankyou no Terror‘s ending sequence–penciled and shaded in with a fine attention to detailing the eyes.  The beginning foreshadows to new viewers that Araragi is definitely not human and the fact that even under vampiric circumstances he can quickly succumb to weakness.  The fire animation where Araragi was exploding in flames couldn’t have been better if it weren’t for Araragi’s screaming!  It gave off real tension to the beginning of this film.  Aside from the amazing updated Hanekawa sequence, which was a nice way to bridge this to the original show this film surpasses most of what the Monogatari series represents, a harem series with tons of inner dialogue.  Kizumonogatari Part I is an introduction piece that dives into an artistic whirlwind of mystery and horror.

Throughout Kizumonogatari Part I there is this incredible sense of creativity from Araragi running through the subway station, Oshino diving from the building to the reanimated scene of when Araragi first meets Hanekawa with the skirt flying up, a nod to NisiOisin’s works.  The novel is quite a read and contains more dialogue than this first half in animated form even touches on.  Right at the final scene I believe this first part ends on chapter 6.

Given SHAFT’s visual style of storytelling this works wonderfully in delivering new viewers and fans of the TV series an enjoyable simple experience.  The lack of dialogue between the gorgeous slow-paced key frames extends the idea that everything that’s happening is what we’re seeing from Araragi’s mind every minute and every second.  We see, hear, and can think everything that’s going on inside of him!

One of the huge successes of this first film is its pacing.  We’re going to be seeing more of a larger story later on.  There’s no need for long character development the tension is built up around Araragi discovering Kiss-Shot-Acerola-Orion-Heart-Under-Blade for the first time and what we get to see is a busty blonde woman with arms and legs missing and blood everywhere.  Extremely intense!  I love how realistic Araragi is–he’s taken in by her beauty but deep down he knows she’s a monster.  Seeing Kiss-Shot on the floor begging for his blood (which was had some pretty detailed closeup shots of her) illustrates that she still has some humanity left in her after 500 years.  I also thought it was interesting how the quick cuts of the subway station signals were displayed like morse-code against a white backdrop with sound effects similar to Araragi’s cell-phone as if he’s desperately wanting to call Hanekawa to save him.  Questioning whether or not to help Kiss-Shot makes this whole segment believable!  Araragi even runs away from her at one point out of desperation to save himself!

This entire film was a lot more expressive than anything the TV series ever had–SHAFT with a movie budget this should happen more often!  Using CG for the backgrounds and cars might be a bit off-putting to new viewers of SHAFT’s works because the characters moving around and having still conversations feel abstract especially the fanservice with Hanekawa Tsubasa moving in slow motion.

The charm of the Monogatari series sense of humor derives from its female cast interacting with Araragi.  They all have supernatural circumstances surrounding them and Kiss-Shot being a unique vampire having drained all of Araragi’s blood still wasn’t enough to retain her adult body.  A kid shows up when Araragi wakes up and it’s funny to see his initial reaction.  The homage to Araragi’s point on the top of his head is brief and sometimes shown throughout this film is a nice comedic touch to an overall dark setting.

Meme Oshino’s introduction was cool.  Since this is the first time Araragi is meeting him it makes all his scenes in Bakemonogatari‘s first arc much more interesting in his methods on dealing with Hitagi’s situation.  A mediator between apparitions and humans he saves Araragi from being torn apart by three vampire hunters–Episode, Dramaturgy and Guillotine Cutter.  Really like how brief that was and that this film didn’t heavily rely on fight scenes to attract the viewer.

I’m really glad this will be a three-part series because it doesn’t rush the dialogue between Oshino and Araragi trying to come up with a plan to get Kiss-Shot’s limbs back from those vampire hunters and it ends in the middle of a conversation rather than rushing a heroic trope conclusion.  Since this is slated to be a three-hour film series and this first one having the runtime of only 60 minutes it will be interesting to see more characterization developed later on.

There was a trailer at the end of this film in typical Monogatari fashion–no visuals just talking and the heavy emphasis of French and Japanese characters appearing on screen.  The second film arrives Summer 2016.  Can’t wait!

OVERALL IMPRESSION: 86/100

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Kiki’s Delivery Service [Theatrical Edition] [90/100]

Director:  Hayao Miyazaki ( Director on Princess Mononoke, Howl’s Moving Castle, The Wind Rises, Porco Rosso, Mei and the Kitchen Bus, My Neighbor Totoro, On Your Mark music video, Spirited Away / Original Concept Design on Tales from Earthsea / Character Designer, Screenplay, Original Story, Theme Song Lyrics and Director on Castle in the Sky / Logo Designer on Japan Animator Expo 2015)

Script: 

  • Hayao Miyazaki
  • Nobuyuki Isshiki ( Script Writer on Fushigi na Koala Blinky / Script Writer on Uchusen Sagittarius)

Original Creator: Eiko Kadono ( Original Creator on Three Little Ghosts TV series)

Music: Joe Hisaishi ( Music Composer on ArionCastle in the SkyHowl’s Moving CastleSpirited AwayMy Neighbor TotoroPorco RossoNausicaa Valley of the WindThe Wind RisesRobot Carnival OVA / Insert Song Performance on Shigatsu wa Kimi no Uso episode 1)

Characer Designer: Katsuya Kondo ( Character Designer on Aurora / Key Animator on Maison Ikkoku episode 39 / Character Designer and Animation Director on Ocean Waves / Key Animator on The Secret World of Arrietty / Key Animator on When Marnie was There / Character Design on Sanzoku no Musume Ronja TV series)


 

Based on Eiko Kadono’s 1985 novel and originally produced in 1988 this was the first film from Studio Ghibli released under the partnership with The Walt Disney Company. Hayao Miyazaki is one of the most critically acclaimed directors ever to grace the anime industry.  His friend and other co-founder of Studio Ghibli Isao Takahata created the amazing Tales of Princess Kaguya about a girl born from a bamboo thicket and her journey in becoming a desirable young woman giving her suitors tasks that are next to impossible.  While Takahata is very good at writing stories that have a strong sense of realism, Hayao Miyazaki creates coherent stories filled with memorable characters, matched with beautiful artistic skill with every frame hand-drawn, an emotionally driven music score by Joe Hisaishi and wondrous magical concepts.

Kiki’s Delivery Service is about a small witch that runs a delivery service.  You would think this would make for a decent animated short but Miyazaki charms his audience by giving us one of the most beloved characters in a Ghibli film and one of the few female characters in his collection of works that ensures we see all sides of her emotionally.

I’ve seen this film many times on Blu-ray but I got a chance to see this last night at my local Alamo Drafthouse with the Japanese dub and English subtitles.  This whole month they’ve been showing Miyazaki films and it’s a great treat for the old and newer generations to enjoy Japanese animation on a wide-scale media format.

As a witch in training, Kiki, discovers a new town far away from her family life filled with friendships and love.  The storytelling is fantastic!  Containing life-like dialogue between Osono’s motherly protection over Kiki and Tombo’s curiosity over Kiki.  Even if some of the turns in its plot are somewhat forced for example the bike sequence and the ending this is a wonderful example of solid storytelling.  The contrast between Kiki and Osono is fantastic.  She views Kiki’s flying as something out of a fairytale and it’s under Osono that Kiki begins her work as a messenger.  The transitions between the drama and the comedy far surpass a lot of animated feature film works of today due to its riveting animated movements of Kiki flying and facial experssions.  The comedic scenes with Jiji the cat are animated with kids in mind while the adults get to see captivating moments with Osono, the woman that gives Kiki her first delivery errand and the whole sequence between Kiki and Ursula.

I believe one of the most fascinating characters in this film is in fact Ursula.  An artist in her late teens that is seen towards the beginning after Kiki loses the stuffed cat from the birds and a little halfway through the film when Kiki takes a vacation.  Ursula teaches Kiki that the things we are good at should never be rejected.  A common theme in Miyazaki‘s “all-ages” works.  Which brings me to why I think this would have done incredibly well as a full-fledged TV series.  One of the issues with this film is how little development its side-cast has especially Ursula, Tombo and Oku-sama.  Clocking in at around 2-hours this film felt short.  Miyazaki directed some pretty amazing TV anime from the 70’s well into the 80’s from Lupin III Part I to Sherlock Hound and even a few episodes of Masterpiece Theatre’s Akage no Anne ( Anne of Green Gables).  I would have loved to see this adapted into a 1-cour or even 2-cour anime!  They’ve got more than enough material to play around with for it!

Being a Miyazaki film without adult action like Princess Mononoke and Nausicca it embellishes Kiki being accepted into a human society and what she can do to make her mark in life from the perspective of a teenage girl.  How she grows from reliance to independence is why I regard this as one of my favorite anime films.

It’s also very neat to see a cameo of Hayao Miyazaki in animated form!

OVERALL IMPRESSION: 90/100

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Owari no Seraph Episode 6

Episode Director: Kei Ajiki (2nd Key Animator on Sword of the Stranger / Key Animator on BLEACH Opening Sequence 12 / Key Animator on Nisekoi Opening Sequence / Key Animator on Mushishi episode 23 / Animation Supervisor on PSYCHO-PASS episode 2, 20 and 22 / Key Animator on Kekkai Sensen episode 1)

Storyboards: Masashi Koizuka (Animation Supervisor on Tokyo Magnitude 8.0 episodes 2 and 7 / Episode Director and Key Animator on Robotics;Notes episode 5 / Episode Director and Key Animator on Shingeki no Kyojin episodes 13 and 17 / Director and Storyboard Writer on Owari no Seraph: Nagoya Kessen Hen Opening Sequence)

Script: Hiroshi Seko (Script Writer on Kill la Kill episode 5)


Yuu and his friends confront their demons in order to become stronger.  He confronts Mika in a dreamlike state only to be quickly given his power through his desire to save him.  That flew by. As did Kimizuka’s possession of  his own abilities.  While this part in the story is about earning a new family for Yuu, this episode focuses on Yoichi, what happens to his sister and how he becomes a demon after losing to her.

Everything about this episode has been beaten to death before and it doesn’t help the fact that it was Yuu that helps Yoichi gain his resolve and turn back into a human.  A lackluster episode that reminds me of Ao No Exorcist and how that series handled it’s character relationships.  Too cliche and cheesy when Yuu talks Yoichi out of fighting them.

On the up side, at least WIT STUDIO knows how to animate debris, smoke effects and the dark fog that represents the demons throughout this episode.  The background visuals are still gorgeous it’s just that the story in this episode isn’t as solid as the previous ones.

OVERALL IMPRESSION: 3/10

Kekkai Sensen Episode 4

Episode Director: Daisuke Tsukushi ( Episode Director on FullMetal Alchemist BROTHERHOOD episode 29 / Episode Director on Kingdom episodes 3, 9, 14, 18, 25 and 32 / Episode Director on Vividred Operation episode 6)

Storyboards: Rie Matsumoto ( Director on Kyousogiga / Director and Storyboard on Heartcatch Precure! film / Episode Director on Yes! Precure 5 episodes 14 and 24)

Script: Kazuhisa Furuya ( Series Script Writer on Kekkai Sensen)


This is one of my favorite series to air in 2015.  It’s perfect.  Ok no series is perfect, but this is in my Top 10 of Best Anime Series of last year.  A top-notch production from BONES, an adrenaline rush with a collection of stories that are interwoven with new characters becoming involved with Libra.

This episode introduces us to Lucky Abrams, a man stuck with misfortune all around him wherever he goes.  I really like how the we are clued in to these characters, the setting of New York and it’s various monsters from the perspective of Leonardo Watch.  This was a fun episode to watch because Lucky Abrams sets the dynamic of Libra and how the main cast interacts with each other.  Previously we’ve seen Zapp hate on Leonardo, Klaus acting as the father figure, Chain as the level-headed type–this time everything is turned upside down.  Everyone is caught in turmoil because of this man.  Great way to preface this entire plot with a party at the very beginning of this!

It’s too bad this series is only 12 episodes because there is a certain level of creativity Kekkai Sensen oozes with–The Elder 13 and Leonardo with his all-seeing eye being caught in the middle of a bad situation that only gets worse.  These Blood Breeds are portrayed as vampires–a different kind of monster than what we’ve seen in previous episodes.  This is the first time we’re also getting a glimpse of K.K. and Steven’s abilities.  Such smooth animation and I like how dramatic the sound effects are in matching the style of Kekkai Sensen‘s musical score.

Jazz isn’t the only style here that rocks!  The visuals are definitely something to be said.  Amazing that this is the fourth episode and there hasn’t been a drop in quality from character’s expressions and that was awesome to see the panning to Klaus attacking the Blood Breeds!  The action comes off stylish throughout this entire episode!

While this series has been focusing on episodic content, the main story is slowing heading in the right direction with Leonardo question who Black is and Femt being in contact with him.  Nice job in turning things full circle from previous episodes.

Want to point out the insert song at the end is entitled “Dust” written and performed by Toft Willingham.  A reggae, rock and dubstep singer for the band Spiritual Rez.  A talented music performer with his hands in tons of projects.  He’s known in the U.S. for shifting between musical styles from classical to his family roots of folk music and has made some strides with his rigid yet engagingly smooth sounding voice.  I wonder how the heck music producer Masataka Mikami got him involved in Kekkai Sensen let alone Taisei Iwasaki in the same room to make music together.  Incredible!

Got to love the product placement in this show.  Haha! Blur Moon!

I cannot get enough of this ending.  Why I haven’t I been writing about this series lately?!

OVERALL IMPRESSION: 10/10

ONE-PUNCH MAN OVA 1

OVA 1 Production Details

Episode Director: Shingo Natsume ( Director on Space Dandy)

Storyboards: Nobuhiro Muto ( Key Animator on Casshern SINS episodes 5, 6 and 12 / Key Animator on Btooom! episode 1 / Key Animator on Garo: Honoo no Kokuin episode 6 / Key Animator on Death Parade episode 6 / Key Animator on GANGSTA episode 5 / Episode Director on SoniAni: Super Sonico the Animation episode 2)

Script: Tomohiro Suzuki ( Script Writer on Lupin The Third 2015 episodes 2, 4, 8 and 14)


 

I hope that my readers are enjoying the new style with the episode production at the top of each post.  If anyone has feedback please let me know.

A 13 minute short that’s included with Blu-ray Volume 1.  Each disc following afterward will receive an extra OVA (Original Video Animation) episode penned by the original author of ONE-PUNCH MAN, ONE. It’s one of the few times an extra like this is subtitled in English!

Following right up after the events of Mosquito Girl–Genos decides to tail Saitama in hopes of discovering the secret to his power.  I like that there is a mystery behind how Saitama became strong–we as viewers get it but people within the show don’t.  It’s simple yet very effective.  He’s a normal guy that overreacts to the Alien vs. Stalker film and this builds nicely into how curios Genos is about him.  This OVA escapes the absurdity of giant monsters for the most part and gives us a taste of what normal life is day-to-day.    Loved that fries scene because it illustrates how meticulous Saitama is about his own life.

The Esthetician Man was the turnaround to show how clueless Saitama can be.  He doesn’t know after saving Genos’ life from Mosquito Girl in episode 2 that anyone would want to understand the power he’s gained until the very end.

I wish this could’ve been longer but nonetheless this was a nice treat to have on the retail discs plus with English subtitles!  Which never happens for bonus material on Japanese releases!


 

ED: “Saitama no One Punch Ondo (サイタマのワンパン音頭)” by Saitama (Makoto Furukawa)

Directed by: Shinichiro Ushijima

Storyboards: Shinichiro Ushijima

Animation Supervisor: Kenichi Shima ( Key Animator on Kiseijuu: Sei no Kakuritsu episode 1 / Animation Supervisor on Kiseijuu: Sei no Kakuritsu episodes 3, 8, 14, 20 and 24 / Key Animator on Redline film)

This is a song that’s far away from the peaceful ending of the TV series.  It’s heavy beats of taiko drums roots itself back to the sounds of Japan quite well.  Not really a favorite ending of mine but it does provide some funny scenes using chibi versions of the cast from ONE-PUNCH MAN; Mumen Rider giving the thumbs up, Saitama dancing and Genos banging on the taiko drums was hilarious to see.

OVERALL IMPRESSION: 7/10