The sci-fi shounen genre has never had it this good. Okay, not never, but this anime managed to claw its way out of the pile of junk that sometimes stinks up the shounen genre to provide something really refreshing. Tengen Toppa is loud, it's brash, it's explosive just like all the others, and yet it also delivers deep characterization and moving subplots. It's Gundam on speed, GaoGaiGar with brains, Getter Robo with sentiments, and has a liberal dose of Toward the Terra's epic feel. In essence, it looks asinine on the surface, but actually spins a mature and compelling story without losing that heart-stopping sense of adventure.
The first half is not just a great series of episodes but a remarkable laying down of groundwork. At first, what seemed to be merely fun concepts, such as mecha combining, primitive societies living in caves, and battles occurring with giant drill-shaped arms, actually took on meaning in the latter half that lifted the show to epic proportions. The focus shifted from providing a series of power-ups and simple good-versus-evil battles to a fairly complex weaving of political and philosophical ‘grey areas', human empowerment, and romance.
I found the pop-rock opening theme suitably energetic and the second more punky ending theme grew on me after a while because it had a catchy melody. However, the first hip hop ending theme was just mediocre. The music during the episodes was a good mix of instrumentals, hip hop, metal, and later electronic sounds; in particular, I enjoyed the epic ‘Libera Me From Hell' which moved from rap to opera to instrumental all in one song. In terms of voice acting, everyone performed well, but Kamina and Viral stood out from the rest as the most dynamic.
Holy shit, are you fucking kidding me?
EITHER BADASS MANLY REVIEW OR GTFO
I haven't enjoyed a world concept like this since Jyu Oh Sei; the effort put into developing both a believable and yet wholly refreshing universe is admirable. My eyes feasted on the quirky colour palette and animal species, the unique outfits and the bold mecha designs. In a more technical sense, the animation allowed for smooth enough movement, but, more importantly, hilarious facial expressions and enough juvenile inventiveness (did I mention the giant arm-drills?) to appeal to the child in me. Moreover, the distinct ‘comic book' use of light and shadow and extreme camera angles made for an excellent dramatic tone during many of the climactic scenes. Watch out for an episode early on which is actually directed and animated by the same studio that brought us Beck - the animation style was just unsuitable and called for an uncomfortable adjustment on my part.
Tengen Toppa would not be half the anime it is without Kamina, the thread that holds the entire fabric together. True, Simon is in fact the central protagonist, but the star quality Kamina brings to the plot is unrivaled. He is cocky, charming, invigorating, tragic, and fearless, a hero whose personality overshadows everything. In terms of charisma, he is probably outdone only by Goro Honda from Major.
Simon, on the other hand, did not show his mettle until quite late into the series. Much of the beginning and middle episodes were used to peel off the layers of his innocence one by one until what was left was the determined and, disappointingly, semi-charismatic core. He rode a powerful mecha and made some great speeches, but in the end I found him less exciting to watch than some of the others.
Those others would include Yoko the sassy sharpshooter, who unfortunately became the sole victim of the series' ecchi leanings, Rossiu, a former priest's apprentice whose development was one of the most complex, Nia, an abandoned princess looking for her own identity, and Viral the beastman, who turned out to be far more than just an amusing recurring antagonist. Actually, the high number of characters that were developed is commendable considering the show was only twenty-seven episodes; getting attached to several of them was easy.
Stopped reading right there.
However, as the series wears on, filler episodes become more common and dampen some of the viewing pleasure. The filler episodes generally occupy one of three niches: monster-of-the-week episodes, comedy and/or romance episodes, or some combination thereof. The monster-of-week episodes are by far the most annoying and are easily the most fit for cattle fodder. However, the filler with a romantic/comedic slant are, in my humble view, among the most memorable filler in all of anime. They do a tremendous job of further fleshing out the stellar characters (more on them in a moment) and their various relationships while still being laugh out loud funny. I am still rolling from the antics of episode 68, titled “Shippou’s Battle Royale”, in which we become reacquainted with the Thunder Beast Clan by way of its last surviving member. I won’t spoil the fun here, but suffice it to say that if you don’t find said episode very funny (for me it was nearly hysterical), I reserve the right to inform your psychiatrist of your impending bout with depression.
Deeply tied with the story of Inuyasha are its superior characters. Like most of Takahashi’s work, Inuyasha has a penchant for emphatic characterization. Indeed, much of the plot here is dedicated exclusively to endearing us to the cast and deepening our concern for them on an almost personal level. When I watch this show, I feel pain when Kagome’s heart aches over Inuyasha’s affection for Kikyo and joy when both her and Inuyasha move closer to one another. Moreover, I feel strongly for each and every one of the other main characters. One of the best and most intriguing individuals though, is Inuyasha’s older brother Sesshoumaru, a full-blooded dog-demon that initially has a tremendous disdain for not only his half-demon brother but also for all of humanity. His growth during the series is slow but deeply interesting as his dark, brooding persona becomes gradually lighter, making it difficult to call him good or evil in any conventional sense.
Inuyasha is the kind of show that many fans love to hate. Some of Inuyasha’s most regularly ridiculed elements include its obscenely long duration, its propensity to re-use animation during action sequences, as well as the fact that Kagome never wears anything but her school uniform while battling demons. Hell, some people simply despise it because of the insane level of popularity it is amassing. Despite its failings, however, Inuyasha is a show that more than compensates for its weaknesses by virtue of its strengths.
For starters, the plot, though not particularly deep, is rich and satisfying. Much of the story’s movement is very methodical, weaving itself smoothly through various situations that are intended primarily to deepen our appreciation of Inuyasha, Kagome, and their companions. Moreover, despite the tremendous length of the show, there are plot-twists aplenty that keep the narrative fresh and engaging well after we understand its precise eventuality.
The aspect of Inuyasha most deserving of contempt is the animation. That isn’t to say that it is bad in any sense. In fact, it is quite good. However, the immense difficulties that exist in animating such a long action show are formidable for even the heartiest of budgets. As such, when an action scene can be reused, it probably will be. For example, many of Inuyasha’s special attacks, such as the “Soul Scattering Iron Claw” or the “Wind Scar”, have used the same animation from the very beginning of the show. Another thing done to presumably save money during action sequences is to create the illusion of action by freezing and then panning an image while adding sound effects. It is a weak substitute for action but if it saves us from simply having to deal with horrible moving art, I am all in favor of it. This effect is much less prevalent the further one progresses in the series, likely a consequence of the switch from conventional animation to CG-assisted animation that occurs somewhere in the middle of the series. Despite my criticism, the art is mostly lovely and evocative in terms of both the characters and settings. Along with the mostly ambient background music, the attractive artwork goes a long way in helping further establish some good atmosphere.
Apart from a few instances of inelegant execution, this series packs in some high quality ideas. With a gung-ho mix of action, comedy, ecchi, zany animation, intellectual concepts, and witty characterisation, Tengen Toppa Gurren-Lagann is a treat for anybody looking for something accessible, all-round fun, deep, and engaging.
What...garbage. Mealy-mouthed, beating-around-the-bush, doesn't-actually-say-a-damn-thing garbage. I'm actually angry reading this.
So what do I have to say to all those that despise Inuyasha out there? Well, you are of course free to your opinion, but my impression is that sour frame-rates, some rehashed animation, and a long run on television do little to ruin a title that has a worthy storyline and so strong a cast of characters. Granted, the show has problems that are significant enough to tarnish its luster slightly, but in the end, Inuyasha still shines nearly as brightly as an untainted Shikon Jewel.
I refuse to read further.
As a whole TokiKake is as a film unpretentious and sincere, eradiating enchantment in every minute it is shown on the screen. Besides, even if you can’t empathically sympathize with the characters you can’t deny their charisma, the entirely believable naturality of the presence they represent as individuals. Go watch this now, at worse you'll be entertained.
I found no problem with the movie at all, other than the melodramatic overstated mood they went with for the ending considering the natural and low-key presentation they used for most of the running time, although at least they left the science fiction concepts as a subtle wink and kept it as just a medium to the true story of character interaction. It’s amazing how entertaining and delightful the overall product was, and with my words here I am doing no justice to the real feeling behind ...my statement but want to avoid needless hyperboles and keep this the more down-to-earth I can for now. Safely can be said that as a whole, be it for artistic attributes, good story telling or the really lovable protagonist and those charismatic personages surrounding her, this is seriously one of the most enjoyable films in recent years, animated or not.
As a “time-traveling” tale the script does has it share of faults but even so I can’t find any as idiotic as what we could already see in “Back to the Future 2”, which even when finding itself in the middle of such paradoxes managed to keep itself a classic thanks to the fact that it can be resumed as juvenile yet somewhat meaningful fun from beginning to end, and by the finale the point of the plot wasn’t really to develop the whole physical mechanics of moving in a temporal plane but rather how such an ability, in a metaphorical sense, affects the life of a young girl, who is by the way one of the most wonderfully done and likeable female teenagers in the medium.
I lied; I kept reading.
Why the hell did he focus so much on the OP and the EDs when discussing the soundtrack. What the fuck has anime done to people?
Interesting was also to see how the directorial maturity of Hosoda is much more firm now, the melancholic stylishness is still here but for some reason with a major focus when compared to his still brilliant Digimon movies. He remains both trendy and lyrical but perhaps now he turns out even more restrained and introspectively social than before, probably a reflection of the natural movement beyond Tai and his pubescent friends, or the Superflat Monogram girl, towards a state that borders adulthood.
Besides Hosoda’s firm commandment the other incredibly remarkable technical aspect was the graphical design, which turns up as pure urban magic achieved through visuals, a thoroughly endearing representation of youthfulness, with simplistic and amazingly humane movement that retains a cartoon-like expressiveness that helps it in going beyond the representation of reality and achieving much more aliveness through un-noticeable and at the same time deeply underlying exaggeration. The team went with a very modern interpretation of what “old-school” signifies and they did a brilliant job at that approach.
I wrote this on TokiKake.
You know what /a/? I have not watched a single solitary episode of Gurren Lagann. Nor do I plan on it anytime soon.
I have no interest in it. The characters, the story, the plot, the aura, none of it really appeals to me. It all seems so contrived from anime of yesteryears.
In short, I refuse to watch it. I can acknowledge its accomplishments, but at the same time I can also say that I will never ever watch it.
Criticize me as you will
You have bad opinions.
sage for lame gl copypasta
So TokiKake is not "a very enjoyable film with a very youthful spirit and no pretension at all"?
>You know what /a/? I have not watched a single solitary episode of Gurren Lagann. Nor do I plan on it anytime soon.
I don't believe you. I think you have watched it in its entirety, and you just happen to post this pasta anywhere you can.
I am 80% sure of this.
CIRNO SIGNAL IN THE SKY!
your loss, bub
You had me until "deep". I refuse to watch any anime people classify as "deep".
/r/ secret plot DEEP
Cirno this is a copypasta.
You have been trolled.
>post this pasta
Always gets my cold heart warm.