Reviews

In our modern culture, where creative entities by and large are satisfied with mediocrity, it's Boku no Hero Academia 2 that ceaselessly strives for more. This show's scorching, all-consuming ambition forged a path for itself that stretches far beyond the insulated bubble of the shonen genre; naturally, a monstrous whirlwind of hype quickly trailed behind. For most seasonals, hype is dangerous. It not only generates an insurmountable amount of expectations for said seasonal to meet but it also influences casual viewers to approach what they watch with a harsher perspective than usual. However, BnHA2 is not the average seasonal. This is a show that ascents to higher and higher mountaintops with confidence galore, that spirals further and further into untrodden territories, that manipulates and modifies its various elements without end. Boku no Hero Academia 2 never ceases; it never rests, relaxes, stalls, or tires. As a result, BnHA2 continuously exceeds expectations at every turn, its grandiose dreams soaring far beyond the standards it had established in the previous season.

On a surface level, the quality gap between Boku no Hero Academia 2 and its prequel is apparent; the visuals are more illuminating, the music more versatile and emotionally moving than before. There are cinematic tricks (for example, the camera circling around Bakugo as the audience's boos erupt) and glimpses of shading brilliance that were not present in the first go-around. A deeper examination of differences leads to a more expansive storyline and a stronger supporting cast. BnHA accomplished quite a bit, from its embrace of the American comic book style to its insertion of a youthful exuberance into the shonen genre and especially its impact on the medium at large. However, BnHA2 amplified the virtues of the first while attaching a couple of inventive features to the series' framework, albeit not without pitfalls and shortcomings along the way. Yes, BnHA2 is bigger and flashier than ever but it's the societal impact of Quirks (for the uninitiated, this is known as "superpowers"), the intricate moral conflicts, and the hidden depths of its supporting cast that really sets it apart from the rest.

Among the additions and alterations that have transitioned from the first season to the second, none is greater than the increase in character involvement. It is no secret that BnHA largely excluded its supporting cast from the proceedings of the plot in favor of Bakugo, Midoriya, and especially All Might (voiced by the booming Christopher Sabat). There is not a single soul in season one that received as much attention, importance, and (arguably) screen time as All Might. While I do understand why BnHA's brain trust decided to operate in this fashion (back then, it was a brand-new show with a small following so a charismatic force of personality like All Might was a godsend for Studio Bones and, much like Gurren Lagann's earliest episodes did with Kamina, BnHA relied heavily on All Might's neverending confidence to keep the show afloat), I simply cannot condone the disrespect shown to the rest of the cast. Sure, characters like Todoroki, Iida, and Asui were fairly interesting but their contributions in season one were absolutely pathetic. BnHA2, however, grants screen time, importance, and depth to a supporting cast (especially Todoroki) that is in desperate need of them. It is quite difficult to observe the changes made to the supporting cast and not relate them to All Might's involvement. As Todoroki, Iida, and Asui claim grand moments in the spotlight and increase their interactions with other cast members, All Might recedes further and further into the background. Where Japanese Superman used to demolish every obstacle and devour plate after plate of ham, now he is relegated to refining his mentor/advisor role, stealing the show only in the most crucial moments. It required a full thirteen episodes for the Boku no Hero Academia franchise to find its footing and establish a balance in its character involvement but believe me when I say that the wait was worthwhile.

BnHA2 resolved its issues with characterization as early as possible but there are more significant problems that this show has to contend with. Most of the first season's glaring imperfections were carried over to the second and unfortunately BnHA2 couldn't rectify all of them. Some are relatively minor, like its mediocre sense of humor and its affinity for dimming the brightness when Quirks are displayed, while the others are downright detrimental. For one, the series could've benefitted from drastically reducing Midoriya's overanalytical inclinations as they were wholly unnecessary. This is a grievance I hold with shonens in general; instead of having the fight scenes stand out on their own, shonens insist on bombarding the audience with excessive in-battle dialogue, pontificating on the intricacies of a powerful punch as if this will somehow enhance the viewing experience. Midoriya is hardly the only one in BnHA2 that's milking this trope but he's by far the biggest culprit. That this show tends to neglect a few of its supporting cast (Yuuga Aoyama, in particular) really doesn't help matter much.

While this show's faults are considerable, they don't prevent BnHA2 from maintaining relevance. As a pop culture entity, it's virtually invincible. The Spring 2017 lineup introduced an Attack on Titan sequel, a Naruto spinoff, and the controversial duo that is Re:Creators and Eromanga-sensei. Yet, Boku no Hero Academia 2 and its overwhelming ambition outclassed them all in the popularity department. Even as the Summer season rolled around, BnHA2 was still the talk of the town. That, more than anything else, is BnHA2's most outstanding achievement. The anime community is, by and large, a divisive and argumentative bunch, each member loudly proclaiming their preferences as superior to everyone else's, yet it collectively agreed that BnHA2 is worth discussing. This show's mere presence managed to transcend the medium, with its promo trailers appearing in movie theaters and its pop culture relevance finding its way into casual conversations. The BnHA 2 hype inhabits its own space in the YouTube stratosphere, where vloggers endlessly debate over the best girl (Momo) \, the effect it has on the shonen genre as a whole, and even the best OP (Kenshi Yonezu's "Peace Sign"). Through it all, you can't help but beam with pride at what BnHA has accomplished.

Imagine a bald eagle patrolling the skies, its steely gaze lightly scanning the area as it glides from one location to the next. This is Boku no Hero Academia. Now imagine that same bald eagle on steroids, its steely gaze laser-focused on what's in front of it, bulldozing everything in its path like a bull in a china shop. This bald eagle isn't merely patrolling the skies; it's visibly overpowering its surroundings and whatever is within said surroundings. This bald eagle is obliterating any bird, any delivery drone, any stray kite, any floating balloon, any aircraft that's near it. This bald eagle is almost twenty times as nimble, as vigorous, as durable, and as resourceful as before. It is not only in possession of unnatural abilities but its confidence is easily noticeable by the other birds. This, my friends, is Boku no Hero Academia 2.

Along with Akira Toriyama (the creator of Dragon Ball) and Hiromu Arakawa (the brains behind the Fullmetal Alchemist franchise), and so many others, one of the most renowned mangakas of all time is Rumiko Takahashi. She has crafted among the most well- known works in all of anime, including Urusei Yatsura, One Pound Gospel, Ranma ½, and (of course) Inuyasha. However, there is more than a little trace of infamy associated with Takahashi's name. In some circles, many of Takahashi's products are criticized for having cardboard-cutout characters, for having a horrible taste in comedy (mostly relying on slapstick and groan-inducing running jokes to force laughter), for churning out overly predictable story lines, and for ranking as among the most cliché-ridden works in anime history. Crammed beneath this mangaka's mainstream money-makers is what's one of her finest works: Rumiko Takahashi's Anthology, the culmination of 13 separate short stories spawned over years of the mangaka's career. In other words, your average anime reviewer once again discusses another tragically underrated series.

For such a hidden gem, Anthology has managed to showcase among the greatest voice cast, as well as the quirkiest, that I've ever seen. All-Star actors and actresses like Karen Strassman, Wendee Lee, and the great Liam O'Brien perform no-name roles for this title (At one point, O'Brien pulls off the voice of a dog. That's right; the man who delivered such a career-defining performance as Monster's Kenzo Tenma is reduced to uttering a bark or two). In what's perhaps the most peculiar voice casting decision of all time, model Karen Thompson popped into the studio to portray an embattled housewife. As for the characters themselves? They're pretty decent, I guess, but since they're just everyday people, they're not that memorable. However, this reliance on the ordinary is among Anthology's most unique features.

"The passage of time is three-fold. The future approaches with hesitation. The present flees with the swiftness of an arrow and the past stands forever still," – Saeko Shima (Episode 11)

Though the episodes in Anthology are different from each other, they all share one characteristic: they all discuss the meaning of life as it relates to time. The episodes focus on remembering the past, and how it relates to current and future events. The episodes focus on how temporary and short-lived the here and now is. The episodes focus on how the future always feels sluggish and chronically late. Anthology's episodic plot, which is mostly easygoing but sometimes dark, emotional, and touching, often questions the most basic yet philosophical concepts in life, like morality, love, and loyalty, among others. Rumiko Takahashi's Anthology also spares time to include a variety of references that help solidify this series, from Walt Disney's Aladdin to Power Rangers and even Inuyasha (What's also unique about Anthology is that characters from different episodes make cameos in others. For example, I can't tell you how many times I've seen that massive pink bunny). As is custom for episodic, slow-moving slice-of-life series, Anthology can become a bit predictable at times with the episodes revolving around a housewife in an apartment 9 times out of 10 (Okay Takahashi, now I know what your occupation was before you became a mangaka but, yeah, you don't need to shove it in my face) but the series consistently redeems itself with memorable moments overflowing with pathos (climaxing in episode 13's Hall-of-Fame scene, where this pathetic businessman protects his boss and stands up to him at the same time while ultimately establishing himself as the almighty "Man of the House".

When others watch Anthology, they often claim that the animation is one of the weakest, if not the weakest, aspects of this series yet it's no better or worse than other titles of the time (early 2000s). However, you could establish a case that Anthology's animation sort of stands out from other series of the time, thanks to its stunningly realistic CG (which anime titles often screw up) and its cinematic symbolism. This series' soundtrack is one of the most enjoyable and eccentric I've ever heard (I will forever be angry that this OST isn't available on YouTube). Anthology often relies on its lively yet smooth and entrancing jazz for the most part; sometimes, soft and slow melodies are present to complement the series' more emotionally stirring scenes. There are occasional East Asian chimes as well as an accordion that shows up every now and then, and in one episode, the sound of traditional African chanting invades your eardrums. Name another series that contains all of that in its soundtrack.

Rumiko Takahashi's Anthology has a nice, relaxing theme song (speena's "Tsuzureori") that sucks you into the series right away and its equally peaceful ending theme (Kumachi's "Sayonara") does a fantastic job of briefly recapping the events in the episode. The features in Anthology, by themselves, are appealing but, when everything comes together, the end result is an excellent and highly recommended title. This is the definitive slice-of-life series, a collection of sagas about everyday people with a touch of the supernatural, and a beautifully written hidden gem that's simply unlike anything you'll ever see today. If only more Takahashi – related anime titles were as worthwhile as this

I'm sure a lot of people were involved in making Afro Samurai but I cannot discuss this show without mentioning the Wu-Tang Clan. It was an iconic rap group that dominated the 1990s, a team of seven members who served different roles in making the Wu-Tang what it was. Inspectah Deck introduced a philosophical feel to each song with his introspective rhymes, Method Man was the most popular member of the group with his infectious charisma, Raekwon and Ghostface Killah brought their Mafioso ideas into the Wu, Ol' Dirty B*stard injected his eccentric style of silliness into each song, GZA was among the greatest lyricists of them all, and RZA was the Wu-Tang's leader/producer. These seven rappers (along with an army of Wu-Tang wannabes, including Killah Priest, Masta Killa, and Cappadonna) created many popular albums in the '90s, including three hip-hop classics (36 Chambers, Liquid Swords, and Only Built 4 Cuban Linx) before Ol' Dirty died in 2004. After Ol' Dirt McGirt passed away, the Wu-Tang weren't the same, spewing out a few good but ultimately forgettable albums. They needed a spark, something that would help them bring great music back to hip-hop and keep them relevant, and that spark turned out to be… Afro Samurai.

This 5-episode anime was perfect for the Wu-Tang, combining rap and a love for martial arts into one, and this is why RZA, my favorite member of the bunch, created this show's soundtrack. Afro Samurai is about a swordsman who witnessed his father's murder as a young boy and his blood-filled journey to exact revenge on the gunman who killed his dad. Before I became a fan of the Wu-Tang, before I watched a lot of anime, I checked out Afro Samurai with my little brother a couple of years back on Netflix and saw everything except for the last episode. At the time, I thought it was an excellent anime that could be improved, rating it a 7 out of 10. A few weeks ago, I decided to re-watch Afro Samurai to see if I still hold the same opinion of this show that I had before.

Some theme songs are colorful and extravagant while others are complex and emotional. "Brief" is the first word I would use to describe the Afro Samurai opening, along with "disappointing" and "visually unappealing". Now you're probably saying "Okay, well the theme song sucks. Anything good about this show?" Like I said before, RZA created this anime's soundtrack and, of course, it's amazing, perfectly complementing each scene with a grimy, edgy mood (There's this one song, Stone Mecca's "A Walk", on the soundtrack that's definitely worth listening to). The acting in Afro Samurai is simply fantastic mainly because a handful of great American-based actors and actresses were brought to the fold; Ron Perlman, known for his work in Titan A.E., was the voice of Justice, Afro Samurai's chief antagonist, while Kelly Hu, who appeared in X-Men 2, served as the voice of Okiku, the seductress/spy for an evil organization, and the famed Samuel L. Jackson starred as both Afro and Afro's companion Ninja Ninja (Even Steve Blum and Liam O'Brien, giants in the world of anime voice acting, hung around as a random swordsman or two). Oh yeah, and there's an African-American protagonist here (a first for anime titles) as well as a couple of other black characters too (Always a thumbs-up for me). These are all the positive traits that I could find here.

Afro is the titular character of this anime, and he's one of those quiet types. He's a lonely swordsman marked by trauma and frustration whom the show portrays as a figure deserving sympathy, but Afro simply comes across as uninteresting. Through Afro's quest in ancient Japan with robots and rocket launchers, other characters are introduced. Justice is the pale-skinned gunslinger/philosopher with a decent amount of depth but not enough to be particularly memorable. Ninja Ninja is my favorite, Afro's much-more-talkative sidekick who wittily comments on what he observes and gives unwanted advice to our protagonist. Along with Justice, other villains are after Afro's head such as Afro Droid (the producers are real imaginative with their character names, aren't they?) and the Empty Seven (reminds me of a group of seven rap figures that I mentioned before), but the true standout of them all is Jinno. The embodiment of fury, he is a man confined to a bear-like robotic armor who wields two blood-stained swords and is determined to slay the swordsman he once called his friend. Sadly, not even Jinno could save Afro Samurai from itself.

"This cannot be the entire series." This was the first thought that crossed my mind upon completing Afro Samurai. The over- the-top fight scenes and general lack of characterization could be forgiven but the head-scratching ending about non-violence really frustrated me. Afro Samurai doesn't deserve to be labeled a series; it's a barely above-average 5-episode bloodfest of an OVA with plot holes aplenty that fails to be seen as a serious title. It's one of the classic examples of a "turn-your-brain-off" show, the kind that action fanatics enjoy without thinking about aspects that really solidifies and legitimizes a series. You could call Afro Samurai overrated but I'm disappointed because I expected something better from an anime associated with the Wu-Tang Clan.

"I believe that just imitating is boring" – Theme Song Lyrics

The definition of 'melancholy' is a prolonged state of mental depression but the funny thing about this series' title (The Melancholy of Haruhi Suzumiya) is that this anime is anything but depressing. It's engaging, intelligent, and promising; in fact, it's nothing like the other school-oriented series that share the same genre. Sure, the early episodes of Haruhi Suzumiya have a dangerous obsession with fan- service but there's a unique charm to this series that helps it remain interesting. One of the most crucial aspects in making this series consistently enchanting is the show's titular character: Haruhi Suzumiya.

More often than not, the female lead character in an anime is a one-dimensional cardboard cutout, an attractive walking stereotype who wears skimpy clothes, who cries on-cue, who is naturally shy, and who only exists to please the male main character. For someone who has seen this character type over and over and over, Haruhi is a breath of fresh air. More than a few people who have watched this series complain that Haruhi is a selfish, scheming control freak, and that's true but I'd rather see Haruhi in a series over the army of mindless robots that have invaded the anime world. From the beginning, this series is about Haruhi's endless pursuit for the spectacular and how the people in her life are affected by it. In the series' theme song, Haruhi is listed as the "Ultra Director", and that's a fitting title for the character that lords over the essence of The Melancholy of Haruhi Suzumiya. Haruhi is a character with multiple occupations; she's a baseball star, a club president, a skilled detective, a film director, a passionate photographer, a world-class manipulator, a God-like deity, and one very talented singer (In what's easily one of the highlights of the series, Haruhi performs a song at the school festival that she barely practiced "God Knows", and she simply tears it to shreds). Like the show itself, Haruhi proves to be nothing less than unique.

One of my favorite things about this show is its music, a great jazzy soundtrack that can be repetitive but never comes across as dull (in serious, dramatic scenes, epic music is inserted and it fits like a glove). I've seen plenty of titles with great animation; however, The Melancholy of Haruhi Suzumiya tops them all in this department, its sharp, beautifully drawn animation serving as visual eye-candy for the audience. Not only is the animation great but the series also displays a creative flair with it too. During the second episode of a two- part mystery, the show uses a grainy live-action segment shaded in red in one scene and a simplistic sketch in another. What I love most about Haruhi Suzumiya is its appreciation of various genres and its change of setting. In episode 1, Haruhi provides a summary of moe (a key element in the school genre) to one of the main characters. In the 1st episode of the two-part mystery, the detective genre and its nuances are fully explained. The Melancholy of Haruhi Suzumiya isn't just a school-oriented series with a touch of mystery. In one episode, the focus is on a baseball tournament. In another, it's about a nerdy computer game (Battleship in space!) that Haruhi and her gang venture into. More often than not, the series transforms into a sci-fi/ philosophical drama, and it's what Haruhi Suzumiya is best at.

This series is a likable one but, unfortunately, it's one with flaws aplenty and the characterization is among its most noticeable faults. The only exceptions are Haruhi (of course) and Kyon, my favorite character. He's an average joe who serves as Haruhi's voice of reason (who she rarely listens to); he mostly voices his opinion with witty sarcasm and often breaks the fourth wall. There's an actual purpose to Haruhi and Kyon being present in the show's plot, unlike the other characters. Yuki Nagato is that one bespectacled female that you seemingly must have in order for an anime to be an anime, the quiet, purple-haired alien who talks in a dull, dry, uninspiring monotone (Getting rid of her glasses is the only change Yuki undergoes in the series). Mikuru is the walking stereotype that I mentioned in the Haruhi paragraph, a warm-hearted, docile, time traveler who's in this show purely for fan-service purposes. Perhaps the most disappointing character of the bunch is Koizumi, an easygoing ESPer who serves as damage control when Haruhi's God-like powers become a problem. For me, he's a fairly interesting character because, every now and then, you could see he's hiding something underneath that permanent smile of his (like the Mole scene during the final moments of the two-part mystery). Unfortunately, The Melancholy of Haruhi Suzumiya never shines the spotlight on Koizumi, which would've made the series a lot better overall, and the other characters (besides Haruhi and Kyon) received the same treatment.

Whatever flaws I found in Haruhi Suzumiya were highlighted by the thoroughly unsatisfying last episode, which (kinda) wrapped up the series in a nice way but failed to resolve the plot's issues. The opening and the wildly popular ending theme aren't all that great. The character designs all appear very similar, especially the females. By themselves, these flaws aren't that big of a deal but, when combined together with the issue mentioned in the previous paragraph, the show overall comes across as a problem. This is a good-but-not-great parody of the school genre with a few truly memorable moments (the classic episode 6, the two-part mystery, and the aforementioned "God Knows" song) but, somewhere along the way, it lost its charm and was unjustly handed a mediocre finale. The Melancholy of Haruhi Suzumiya, in the end, was disappointing but at least it stands heads-and-shoulders above the legion of run-of-the- mill school series… and Angel Beats.

"This police station has been running a lot more like a soap opera," - Chief Kachou (Episode 3)

1994 was a pretty good year for anime titles. There was the Studio Ghibi film Pom Poko, a story centered around environmental issues. The Street Fighter movie, based on a wildly popular video game series, briefly fumbled its way into the spotlight. 1994 also introduced the anime world to Marmalade Boy, a well-known school-oriented series. Finally, '94 was the year in which television networks came across a mini-series, a hidden gem if you will, titled You're Under Arrest (YUA). When people think of police shows, they conjure mental images of good-cop/bad-cop roles, of homicides and kidnappings, and of undercover officers raiding a criminal hideout. You're Under Arrest doesn't conjure these images in viewers because it's the complete opposite of the typical cop series; this is a show where comedy is at the forefront instead of action, where the only serious crime that people commit is reckless speeding, and where the officers are more concerned with maintaining friendships than anything else (and please don't mention anything to do with romance to these people. They're really serious about that). With these factors inserted into the plot, this anime explores the adventures of police officers Natsumi and Miyuki for four enjoyable episodes.

While You're Under Arrest is certainly an enjoyable OVA, it is not without its flaws. The acting in the series isn't the best, the supporting characters are relegated to a couple of unimportant lines, and (if you want to be really critical) the animation looks a little dated to me, even for an anime from the early '90s. However, I can brush past those flaws thanks to the five main characters. Miyuki is a gentle officer/driver with good looks and a hobby as a mechanic (Basically, she's Winry Rockbell before Winry Rockbell). Yoriko, a goofy gossiper who proves to be the series' best voice actress, is that one bespectacled female that you seemingly must have in order for an anime to be called an anime. Ken is my favorite character, a sunglasses-wearing tough-guy/motorcyclist who really loves Miyuki and is affectionately nicknamed "Kenny" by the other officers. Chief Kachou doesn't really do much besides giving out orders and pondering over situations (I just act like the guy's not there). By far the most interesting character of the bunch has to be Natsumi, the protagonist. She's a hotheaded slacker with purple eyes, impulsive tendencies, an infamous reputation for oversleeping, a habit for getting drunk, and impeccable skills as a motorcyclist. The other main characters are appealing, besides the Chief, but Natsumi is simply beyond that.

I don't know exactly where I would place You're Under Arrest on my anime list. I don't speak of this series with the mystified reverence that I do for Monster not with the unbridled hatred that I have for Inuyasha. You're Under Arrest instead settles in a special category for me, one without severe criticism or deep analysis. Here's the best way I can explain my appreciation for YUA. For me, this anime induces a wave of nostalgia, even though it's my first time finishing this. Maybe it's the beautiful theme song which really grew on me or the show's lively soundtrack with a hint of jazz that does it for me. Maybe it's You're Under Arrest's lighthearted atmosphere sprinkled by some truly touching moments that hypnotizes me. Maybe it's the excellent episode 4 (titled "On the Road... again") or the amazing sequence that occurred in the episode, where Ken rides his motorcycle out from the raging flames that causes me to write so passionately about this. Maybe it's the fact that YUA is completely appropriate for children (believe it or not, this doesn't occur often in anime), besides the cursing that pops up once-in-a-blue-moon that makes me love it so much. Regardless, You're Under Arrest is the perfect title for this OVA. It captures you, alternately thrilling you and pulling your heartstrings along the way.

Ente Isla, the medieval land of major- league magic and corrupt churches, is being destroyed, one village at a time, by the depraved Demon King Jacob and his almost-as-evil underlings. One fateful night, the heroine Emilia Justina and co. invades the Demon Kings' castle, annihilating the many evildoers in the way. When the good guys finally come face-to-face with the all-mighty villain himself, the Demon King retreats to modern-day Earth with his most loyal henchman, where they adopt different names (the Demon King is now Sadou Maou while the henchman becomes Shiro Ashiya and our notoriously vicious villain morphs into… a mere McDonalds (I mean, "McRonalds") employee. Welcome to The Devil is a Part-Timer, where the unexpected is expected and where expectations too high will be crushed.

We find our protagonists in the city of Sasazuka, Japan, a business- oriented megalopolitan with beautiful scenery straight from a painting and a spectacularly subpar soundtrack inserted in the atmosphere. At first glance, Sadou Maou is the typical non-chalant slacker but he is also a loyal, hard-working employee at McRonalds and is generally a kind, good-natured person (Yep, Sadou's personality took a complete 180 after his Demon King days but the series feels no need to explain that. It's not like character development matters, right?). Shiro Ashiya is an even greater victim of the Sadou Effect than Sadou himself, a genuinely caring and loyal person (especially to Sadou) who serves as this series' comic relief and is pretty much useless in a fight (When does this guy ever throw a punch?). Now, you're probably thinking "Wow, The Devil is a Part- Timer doesn't sound all that great." Well, your opinion of this comedy/slice-of-life series is about to plummet even further.

As our protagonists (very, very quickly) adjust to life on Earth, other characters are thrown into the already-shaky plot. First and foremost is customer support worker Emi Yusa who is also Emilia Justina (shocker, right?), a red-headed tsundere with a supremely short temper, an obsession with routinely stalking Sadou, an annoyingly self-righteous attitude ("I'm the Hero!" screams Emi in more episodes than one, and my all-time least favorite character (Eren Yeager (Attack on Titan) and Kagome (Inuyasha) are now 2nd and 3rd respectively). Then, there's Chiho, an average girl working at McRonalds who's really in love with Sadou, a rather one-dimensional character that garnered attention from other characters due in part to her massive jugs. "A female supporting character needs to be an object of fan-service (as well as a boob job) in order to be noticed", the series seems to say. Later in the series, other characters just appear out-of-the-blue, like slacker computer whiz Hanzo (a former General under the Demon King who everyone in Sadou's group treats like dirt), stereotypical quiet girl Suzuno (her dubbed voice is painful to hear), and Emi's friend Emeralda Etuva (her purpose in the series is…I don't know). With the cast of The Devil is a Part-Timer (who embody one anime cliché after another), the show tries way too hard to be funny. Sometimes it works (like in episode 9, where Ashiya explains the series' synopsis with a metaphor to one of Emi's very few friends) and sometimes it doesn't.

When The Devil is a Part-Timer is tired of being a comedy (Comedies are supposed to be CONSISTENTLY funny) and is plain bored of calling itself a rom-com (I'll get to that later), it nosedives into probably the most over-used genre in all of anime: action. The fight scenes are easily the most beautifully animated sequences in the series but that's the only compliment I can give to it. The action in this series doesn't occur often and, when it does, it's mostly balls of energy from hands, Superman-esque eye beams, and aerial attacks that take place. Needless to say, action isn't really this anime's forte but the third-to-last episode and second-to-last episode were all about action. At this point, The Devil is a Part- Timer, which was once a light-hearted comedy with few serious moments, transformed into a dark drama with tragic pasts and screaming matches. During this massive mood shift, Chiho exclaims "Where is all this coming from?!", a question for which I have no answer. In the last of the two aforementioned episodes, a villain who was inserted into the series in episode 9 declares, "Satan's current power level makes you able to defeat him. If you didn't know this anime is trying to be a generic Dragon Ball Z replica, now you do. At one point in this stretch, Emi absorbs a severe blow from the aforementioned villain and crashes into a pile of boxes. This is one of those scenes where it's implied that you're supposed to sympathize with the character's pain but I felt nothing while watching this moment, mostly because there was nothing to Emi, to any of the show's characters, which told me I should care.

The last episode was a stand-alone story about dreams, scams, and a villain in love. It didn't meet the overarching goals of the series (for Sadou to choose Chiho, Suzuno, or Emi as his lover and, more importantly, for Sadou to return to Ente Isla and reign once more as Demon King), and was ultimately a half-baked conclusion to a mediocre series. No review of The Devil is a Part-Timer would be complete, however, without mentioning the opening, a forgettable theme song worthy of the skip button with head-scratching sequences. One sequence, for example, has Chiho appear with a traditional miko dress and a bow (When does this happen in the series?) before she softly lands an arrow in the middle of the target as hearts, stars, and sparkles surround the arrow. Even the theme song sucks. If I could summarize my opinion of The Devil is a Part-Timer in one sentence, it would be this: Thank God it's only 13 episodes.

Not every anime has a great beginning. Monster's first episode was very good but there were no signs of that becoming a classic until the fourth episode. Trigun's first episode was underwhelming to say the least, filled with over-the-top gunfights and a "Who's the real Vash?" plot line that quickly turned dull, but the second episode, for me, was what really kicked off the series. From the first episode, from the very beginning, you can tell that Black Cat is special, but this anime's plot, on the surface, is one of the most generic imaginable. Young hero witnesses a loved one being killed and the hero embarks on a fury-filled journey for revenge (Tell me you haven't heard that one before), but there's so much more to Black Cat than what you'd expect from a summary like the aforementioned one. Black Cat is an action-oriented anime with major focuses on comedy and drama, and even a hint of romance.

Like the plot, Black Cat's four central characters appear as cookie cutter models often seen in other anime. At first glance, the protagonist is the brooding young adult, Sven is the cool guy, Eve's the quiet one, and Rinslet's the kind but loudmouthed young woman. There's more to these characters than the models will lead you to believe, especially for Train Heartnet, the protagonist. Codenamed Black Cat, Train is an infamous assassin for the shady organization Chronos, cold-bloodedly taking lives with Hades the handgun, until he is influenced by the beautiful Saya, an experienced sweeper (bounty hunter), to sever ties with Chronos and his lifestyle of bloodshed. At the series' start, Train is a certified loner, his hobby gazing thoughtfully at the moon, drinking cold bottles of milk while awaiting his next assignment. A self-described "stray cat roaming", Train, in his journey, is revealed to have more layers to his character, at times a carefree traveler with an often-hungry stomach, and in fights a confident challenger with strength, agility, and marksmanship on his side. Train Heartnet is an interesting character in a show filled with them.

Sure, Train's an amazing protagonist, but what really elevates Black Cat overall is the focus on the other characters. Eve is the blond- haired android of few words, a lover of books and fireworks, someone who's filled with kindness but isn't afraid to fight either. Sven Vollfied is my favorite character, a veteran sweeper with an eye- patch, green hair, a secret power, a tragic past, a really laid-back personality, a briefcase filled with weapons, and a gentleman's code he really doesn't want to break. Rinslet Walker is Black Cat's sole weak spot in characterization, a gifted computer hacker with a personality eerily similar to Dragon Ball Z's Bulma, a character lacking in depth, uniqueness, and screen time. Creed Diskenth, the main villain, is without a doubt Black Cat's strongest showcase of characterization, a combination of Dragon Ball's General Blue, Knives Millions, and Legato Bluesummers (the latter two of Trigun fame), a genocidal, sadistic, flower-bearing God-wannabe whose obsession with Train borders on the homosexual. Black Cat's cast, infusing an overdose of comedy into the anime, is among the greatest models of characterization ever assembled.

Daia no Hana, Black Cat's opening, electrifies, the theme song, reflective at times and fast-paced at others, a phenomenal way to introduce the upcoming episode (the second opening, while good in its own fashion, isn't as memorable as the first). Black Cat's soundtrack is also a sight to behold (or rather something to hear), Train's theme song highlighting your favorite former assassin's entrance to the battlefield, and Saya's song making me want to punch Creed in the face for what he did in episode 6 (This anime even has opera music in particularly dramatic fight scenes and while it might be downright bizarre in other action titles, it definitely works for Black Cat). This anime's soulful 2nd ending theme is one of the most emotional I've ever seen, up there with the closings in Bartender and Coyote Ragtime Show.

The final four episodes of Black Cat was dedicated to the Eden Project Arc, a brief saga where villains that formerly fought for good decide to use Eve in a plan to change the world. The Eden Project Arc, while very good in many aspects (throughout the series, Brandon Potter, the voice of Sven, showed that he was a great actor but in this saga, his brilliance was highlighted), was ultimately a random plot twist and a weird way to end the series. Compared to many well-known anime, Black Cat is different. For one, the overall quality is much better in Black Cat than the others, but it's Black Cat's reputation that sets it apart. Black Cat is considered a mainstream anime (Lots of anime lovers have heard of this and there was even a spin off video game in Japan for the PlayStation 2), yet in the most important aspects it is not. There are some anime that surpass Black Cat but most of them don't have the charm, the warmth, the emotion, and the uniqueness that this one has. Black Cat is truly anime's lone wolf, and there isn't a higher compliment that I can give to it.

In the boring, fictional Japanese town of Mabase, a pre-teen boy named Naota (the main character) struggles with young love. More specifically, with resisting the advances of Mamimi, the girlfriend of his older brother (his older brother moved to America before this series started). FLCL sounds and looks like a relaxed romance/slice- of-life story…until a girl named Haruko crashes into Naota with her moped, knocking him unconscious and shifting the focus of the series (She KOs him again – with a baseball bat – immediately after Naota arises). After the incident, Haruko stays at Naota's house as a maid and a horn pops out of Naota's forehead every time he's horny (Double meaning?), occasionally conjuring robots from his forehead as well. This is a basic summary of FLCL (known as "Fooly Coolly"), a highly controversial series among anime fans. My question is, is this any good?

I really like FLCL's stylistic shifts, the series mainly using this great slow-motion effect and a manga look for a couple of scenes. The music is also an A-plus, a rock-oriented soundtrack that strangely fits FLCL, but what I appreciate most is this anime's character portrayal. Naota's the narrator who is at times reflective and emotional, Haruko's the mean-spirited, slightly insane prankster who's a bit of a showoff, but Mamimi is on a different level from them. A desperately lonely wanderer accompanied by a schoolgirl skirt and a lit cigarette, Mamimi is obsessively attached to anything or anyone she likes, worshipping the robots from Naota's head and even burning down a school in the name of love. Mamimi evokes an unprecedented level of pity from the other characters and the audience, a confused young girl trapped inside a very confusing anime.

Most renowned anime have a few undesirable traits, like a random plot twist or a terrible acting performance from a character, but I don't know where to start with FLCL. First, there's no semblance of a plot, the show lagging around here and there to the point where effort is seriously questioned. Then, there's the weird subplot midway through FLCL, the subplot being a (really) eyebrow-raising relationship between Haruko and Naota's pervert of a dad. The site I watched FLCL on had lengthy periods of delayed audio so that was another deciding factor for me. Finally, it's FLCL's attempt at comedy, everything from the character's fast-paced talking (particularly Naota and Haruko) to the awkward South Park look in one scene and, perhaps worst of all, the lame running gag of focusing on Commander Amarao's tremendously thick eyebrows. Say what you want about FLCL but it is certainly unique.

During FLCL's last episode, Haruko said "Eating ramen that taste really bad can also be kinda fun too." For me, FLCL was fun. It was fun to learn things I (really) didn't need to know about the characters, to watch as FLCL shoved another crappy moment in my face when I assumed there were no more, and to joyfully look forward to FLCL's conclusion. People label FLCL a clever coming-of-age classic while I think of FLCL as the overrated culmination of whatever the production company thought would attract the most viewers. "People love robots so let's add a bunch into FLCL!" "Those otaku can't get enough of fan service so let's try to make every other scene a suggestive scene." Everybody loves South Park so we should turn a random FLCL scene into a South Park scene!" Throughout the 6-episode series, a lot of characters took a look at Naota's horn and said it was Fooly Coolly (the title of the series), but it's never explained what it means. During FLCL's last episode, Naota's father and grandfather requested Naota to explain what the term meant, naturally assuming Naota had the answer since he's the main character and everything, and Naota didn't know either. While trekking through the mess that FLCL is, I asked myself "What am I watching?" Not even the characters have a clue.

In a typical story, the unwritten rule is that the main character exemplifies every ideal trait known to man. The main character usually has superhuman aspects like abnormal strength or an ability to read minds but, to me, what stand out about this poster- boy/poster-girl protagonist are their morals. The main character is the classic blue-collar worker, always diligent and persistent at what they want to do (Rocky Balboa). The main character is pureness personified, always kind to others and willing to lend a helping hand (Snow White). The main character, above all else, is the awe- inspiring role model for how people should live, a shining symbol of virtue (Superman).

Meet Sunred. The central character of the anime series Astro Fighter Sunred, he is the exact opposite of the aforementioned poster-boy protagonist. A famous crimefighter long ago, Sunred now spends his days lounging around his girlfriend's house, drinking his life away, and playing pachinko at the local club. Sunred's life isn't as entertaining as that of his equally-powerful counterparts in more renowned anime, and his personality wouldn't attract the adoration of fans either. The always-angry Sunred (accompanied by a mask which he never, ever takes off) involves himself in the series with vicious insults galore and an arsenal of snide remarks. Among our protagonist's favorite hobbies are fighting a group of villains called "Florsheim", not actually defeating his opponents as much as verbally crushing their self-esteem. Sunred is the Jake LaMotta of anime, making Eren Yeager of Attack on Titan fame look like Santa Claus in comparison. Despite the overwhelming unlikability of the main character, this anime persistently digs deeper into the protagonist's psyche, uncovering his intimacy with those he cares about and, in the end, discovering a complexity to the personality of the seemingly simple Sunred.

Just like how Sunred separates himself from the rules of the classic hero, the villains of Astro Fighter Sunred also break away form acting like the Ivan Dragos and the Darth Vaders that viewers are accustomed to. General Vamp, leader of Florsheim and the main antagonist of this anime, is the biggest example. A ridiculously more likable character than Sunred, Vamp is a mentor to the others in the group, always handing out lessons and tips; he is also a fantastic cook with a ton of recipes (which I will mention later), but what stands out about Vamp is his kindness. Kayoko is Sunred's girlfriend who works at an insurance firm and loves chatting with her friend Vamp (When she talks to Sunred, Kayoko usually has much less enthusiasm than when she converses with Vamp). Accompanying Vamp in his many, many battles with Sunred are a variety of monsters and animal-like creatures, ranging from a giant tiger-man to a lip- stick-wearing bird-like thing and even a mummy.

If you're someone who watches anime because of the fight scenes, then you'll be really disappointed with Astro Fighter Sunred, as there are either one-punch-knockouts from Sunred or multiple Sunred barrages (which are hidden form the camera). This anime more than compensates for its lack of action with its comedy. Every episode is 13 to 14 minutes long (short and sweet) and none of them are without a fair dosage of laughs, the episode filled with shorts like Gaima's Ambition (this guy spends 7-plus episodes thinking about buying a dog!). There's the short called Animal Soldiers (a subdivision of Florsheim consisting of little bunny Usacots , diabetic cat Devil Neko, bird-like robot P-Chan, and blue wolf Hellwolf), who desire to be viewed as real villains but are instead adored because of their cuteness. There's also a short titled Host club, where Mr. Reiji (my favorite character), a floppy-eared dog with a fancy business suit and a James Bond – like suaveness, decides whether or not he desires the woman of the episode and, if he does, he gives her tons of champagne. The last short is General Vamp's Quick Recipes (which usually appears near the episode's end), where Vamp gets to showcase his cooking talents via really simple recipes to delicious foods (I have to try one sometime). Astro Fighter Sunred, a hilarious anime that references shows like Mythbusters and Bamboo Blade, is not only different form the stereotypical superhero shows, it even pokes fun at them. It's mostly Sunred, who looks like a Power Ranger, that mocks the stereotypes.

The opening for Astro Fighter Sunred is one of my all-time favorites, where a particularly passionate singer (accompanied by a smooth guitar) injects the song with an overdose of emotion and, by the song's end, is practically screaming the lyrics. Throughout the show, the main theme is altered, in one episode a live-action version is inserted, in another a minor character sings a very silly edition of the song. At the series' conclusion, the theme song was there and it was a perfect way to close this anime, a great song for an anime with touching moments, believable characters, and a lot of hilarious scenes. If you want a revisionist look at the traditional hero vs. villain story or just a simple slice-of-life comedy, look no further than Astro Fighter Sunred.

There are a couple of ways that I discover new anime to watch: from reading the manga, from reviews, from word-of-mouth, or from reputation. My introduction to Coyote Ragtime Show (CRS) was through a trailer, a passionately narrated 1-minute video that presented a very simple synopsis: an outlaw named Mister searches for money on a doomed planet while being hunted down by two women, both of them wanting him dead. CRS' premise was interesting by itself but how the narrator described this anime at the end of the trailer really grabbed my attention because it wasn't any anime; it was the "chilling, thrilling, killing, blood-spilling ride called Coyote Ragtime Show." What action lover wouldn't want to watch that?

As one might've guessed in the previous paragraph, Mister is the main character of Coyote Ragtime Show, a cigar-chomping space pirate with an unforgettably raspy voice, a confident old man with razor- sharp wits and vivid storytelling, and the charming captain of the ship Coyote with strategies galore, tons of aliases, and a loyalty to the people he cares about. Mister is famous in the criminal underworld for wrecking havoc on various planets simply because he feels like it but, beneath the gruff exterior, Mister has a heart of gold. To me, Mister is a huge factor in making this anime into what it is.

Enveloped in Coyote Ragtime Show is a complex cast of characters. The members of Mister's crew are Franca (the daughter of pirate legend Bruce with a voice (about 18 years old) older than her appearance (10-12 years) and an intriguing internal conflict about her self-worth), Katana (the light-hearted mechanic with a passion for food and a confidence that rivals Mister's), my favorite character Bishop (the laid-back co-pilot that's useless at pretty much everything and always finds an opportunity for a one-liner), and Swamp (a rare African-American character in anime, a chubby, mustached preacher who had a close friendship with Bruce and constantly bickers with Bishop). The Coyote crew does a great job at maintaining CRS' easygoing mood, along with the investigators chasing Mister: private eye Angelica Burns (a lover of food and a certain criminal) and her apprentice Chelsea, an illiterate young woman blessed with perfect memory (Her voice is the same one later used for May Chang in Fullmetal Alchemist: Brotherhood). Coyote Ragtime Show also has its share of villains, which include the Twelve Sisters, ruthless robotic girls named after the months of the year – for example, one's named January, the other Feburary and so on. There was one scene in episode 6 where October, November, and December are pursuing Mister in a crowded city and a building was supposedly "in their way" so they torpedoed the thing until it was nothing more than a collapsing mass of smoke and flames. The Twelve Sisters are led by the merciless Marciano, CRS' central villain, the cold-blooded killer that murdered Franca's dad and countless others with a disturbing lack of remorse. Marciano is the Frieza to Mister's Goku, the perfect counterpart to CRS' protagonist.

Although the opening for CRS doesn't really stand out, it still remains fairly engaging and it doesn't diminish the excellence of this show's soundtrack. Various electric guitar pieces perfectly complement the fast-paced intensity of CRS, and other instruments are thrown in there as well. A central theme, the only theme, in Coyote Ragtime Show is loyalty, sticking by your loved ones through thick and thin (There's even an episode titled "Never Change"). One of my favorite things about this anime is its closing theme, an excellent, pathos-fueled claymation sequence (The closing theme plays in Coyote Ragtime Show's final fight and, for me, it pulls heartstrings).

At the conclusion of this anime, there were several crucial plot holes that were never noticed. Why did Marciano kill Franca's dad? What happened to Franca's mom? Why did the Federation (the "righteous" people ruling the galaxy) and the rebels hate each other? Regardless, Coyote Ragtime Show is more than your average action anime. It's a consistently comedic show (Episodes 5 and 9 are CRS' funniest) and an attention-grabbing space-oriented drama full of emotional moments. When I first looked at this anime's title, I thought it was about a coyote that loves to dance in Wild West saloons. I now realize it's more than that.

Cartoon Network isn't what it used to be. As a kid, I watched CN because it had shows that appealed to tons of people, shows that had meaning, and shows that deserved to be labeled classics. Those shows are gone. Teen Titans, Samurai Jack, The Batman, Chowder, Kids Next Door, and more have been dismissed for garbage cartoons like Teen Titans Go! , Adventure Time, Ninjago, and Uncle Grandpa (No comment on those new Pokémon incarnations). With the exception of Clarence and Steven Universe, Cartoon Network is a joke. CN's lone redeeming factor is Toonami, a late-night segment form Saturday evening to Sunday morning where various anime are featured, and one of them used to be Fullmetal Alchemist: Brotherhood.

I never liked Brotherhood; I love it. An avid reader of the FMA manga, I stumbled upon Brotherhood on Toonami and, from there, I was hooked. Fullmetal Alchemist: Brotherhood is about two brothers, Edward and Alphonse Elric, who lose possession of their bodies as a result of breaking the most important rule in alchemy, attempting to resurrect the dead, and they journey across the country of Amestria as they attempt to reclaim their former selves. Edward Elric is this anime's protagonist, the famed "Fullmetal Alchemist" whose legendary reputation is rivaled by his alchemical skills, the wise cracking prodigy with an unpredictable personality and a strong distaste for milk, and the height-conscious adolescent with a constant inner conflict about morality, a massive amount of confidence, and an unwavering dedication to his loved ones. If I were to make a list of the greatest anime characters, Edward Elric would be in at least the top ten. Alphonse Elric is the younger of the two brothers, a gentle and likable young boy trapped in a suit of armor that serves as Edward's mediator during Ed's explosive episodes (Al is often assumed to be the older of the two due to his height). Brotherhood ventures into a variety of places throughout Amestria, from the bustling business environment in Central City to the fear-inducing tunnels underneath the city, from the wind-driven snowflakes covering the Drachma region to the primal adobes in dust-consumed Ishval, and, in all of them, this anime crafts the setting with a razor-sharp eye for detail and an amazingly artistic flair.

The majority of FMA Brotherhood doesn't focus on the Elric brothers but instead on the people surrounding them. Colonel Roy Mustang is my favorite character, an easygoing alchemist with the coolest power ever (He can unleash fire by – get this! – snapping his fingers!), and an ambitious leader that alternates between cracking jokes and being dangerously serious. There's Winry Rockbell, a childhood friend of the Elric brothers and a gifted mechanic. There's Scar, a sunglasses-wearing Ishvalan with a reputation as a malicious murderer and a mission to destroy alchemists of the military via alchemy. Brotherhood also contains a great group of villains in the Homunculi, the seven nearly-unstoppable immortal-like beings each with their own unique personality, and their Father. The two Homunculi that stood out to me were Greed (The Homunculi are named after the seven deadly sins), a rebellious man with steel-like skin, and Pride. Born from Nightmare Fuel, Pride is this anime's most important villain excluding the main antagonist Father who I will remember most for that frightening scene with Lieutenant Riza Hawkeye. Excluding the emotionless Father, Fullmetal Alchemist: Brotherhood has characters with great acting, emotion, complexity, and (above all) likability (Is this even a word?)

There are five main themes in Brotherhood; the final opening is by far the most emotional, but my favorite is the first, a fast-paced theme song that slowly intensifies at a pace with the opening's singer. Plotwise, there isn't a big difference in Brotherhood from the Fullmetal manga (although Isaac the Freezer never graced the FMA pages nor did Father Cornello evolve into a hulking beast), but the anime is still just as good, with more twists than a Twizzler stick and more energy than a kid on a sugar rush.

Perhaps the greatest thing about Fullmetal Alchemist: Brotherhood is its appeal to all genres. If you want tons of action, if you want a show with martial arts, if you want a military-themed anime, if you want some mystery to your show, if you want some sci-fi in your show, if you want a huge focus on adventure in your show, if you want some slice-of-life aspects to your anime, if you want to see buckets of blood, if you want to watch a show with fantasy elements in it, if you want to watch a dystopia-themed show, if you want to check out an anime with depth, then Fullmetal Alchemist: Brotherhood is the series for you.