Tag Archives: Anime

The Witch from Mercury and Subtlety in Storytelling

May 24, 2023 Jack Scheibelein Leave a comment

Welcome, weebs, to Animated Observations

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The world of anime, especially when it comes to genres like sci-fi and fantasy, can often revolve around big flashy moments and fight scenes. Mecha anime, in particular, utilize their giant robots as not just points of literal conflict but symbolic conflict as well.

Mobile Suit Gundam is one of the most historic in terms of its themes surrounding war and the costs thereof. Given the nature of its combat involving giant war machines, seems logical that these questions would arise. The latest of its incarnations, Mobile Suit Gundam: The Witch from Mercury, however, arguably does a bit more to differentiate itself in this lane than some of its peers.

Despite wanting to talk about this show a bit more in-depth, my friend and I’s group watch of the series has only gotten through the first season, and thus there is probably a lot that could be missing from any analysis. Still, there is so much in this series worth talking about, and since most of my attention has been elsewhere recently, it feels like good a time as any before reviewing the series properly once it finishes. As such, the things highlighted in this post will relate primarily to season one.

There is a lot of charming optimism to be found in young anime protagonists. Many of them fight not just because they have to but because they believe doing so will bring about some sort of good in the world. While Naruto spends a good portion of his own story hated by the people around him, he rarely gives up hope in favor of a darker outlook. The same can be said of Gon in Hunter x Hunter, though the show’s more angry, rage filled moments certainly provide a stark contrast. Hell, one of the most famous mecha series of all time Gurren Lagann is known for its main character’s eternally optimistic attitude.

The Witch from Mercury approaches its story similarly with Suletta, a young girl who comes from the outskirts of the solar system and who’s parents were involved with a biological weapon’s program known as GUND. Despite Suletta’s shy personality, her outlook is decidedly positive, often reciting her mother’s mantra “retreat and take one step, move forward and take two steps.” On top of that, her generally friendly personality makes her approachable later on.

Given many MC’s tendency towards positivity and straightforward thinking, shows often develop a sense of black and white morality that leaves little room for exploring ideas in any sort of nuanced way. However, Suletta’s storyline buckles this trend in ways that make it stand out as a more subtle narrative.

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The ending of season one might have felt like a bit of a surprise to some, but the show leaves enough clues in earlier episode that its more murderous direction is not at all unwarranted. The show draws a lot of attention to her early on, not just by making her the main character, but by making her the only character from a business family without a set of ulterior motives. While everyone else’s kid serves as a puppet for one of the businesses in the group, Suletta seemingly remains mission-less.

However, it is the seeming lack of a deeper derision between Suletta and her mom that becomes suspicious, especially framed within the context of her mom’s actions. This is especially apparent in episode 12, where it takes all of 20 seconds for her mom to use that same motto “retreat and and take one step, move forward and take two steps” to essentially convince Suletta that murder is ok. This is, of course, assuming that the masked woman is even her mom which feels less and less certain as the episodes roll on.

Not so surprisingly, the concept of witches comes in the show as well. The fantastical beings have their origins in a number of places but in recent times have been mythologized as much more evil. The Salem Witch Trials in the U.S. are a great example of how hysteria created by religious fervor fueled many into believing in these being and has since become so famous as to become a parable about delivering false accusations against others.

The invocation of this event and the history of witch hunts is utilized quite well in the series. Given the taboo nature of the GUND format and people as biological weapons piloting gundams, it is no surprise that Suletta’s fellow classmates take to her robot’s mysterious powers with a bit of fear. Though the fear is initially framed as unfounded and irrational on the part of the students, it is slowly revealed that the technology not only still exists but is possibly still worth pursuing.

A lot of this is also scene from the perspective of Miorine, especially in the previously mentioned episode 12 final scene, who watches Suletta’s development. The dynamic between the two changes drastically, both in the whole of the first season as well as when she murders Miorine’s assailant. What in her eyes were annoying, unfounded rumors about her…wife (I’ll save talking about this dynamic for the review proper) becomes founded in a near instant.

The Witch from Mercury does not feel the need to spell out a lot of its larger points. Part of this might be its attachment to the legacy of Gundam which at this point feels like it needs little explanation. However, a lot of it feels like trust in a more mature audience, one that is able to handle not just layered and nuanced storytelling but also queer relationships and the ethically dilemma that is warfare.

How do you all feel about the series so far? Let me know in the comments (preferably without spoilers from season 2).

If you are interested in reading more from me, check under blog to read my most recent stuff, or look below for some related posts. Also, if you would like to support Animated Observations, consider donating on Ko-fi or through paypal, or pledging on Patreon. You can even support by just liking and sharing this post.

As always, special thanks to Jenn for supporting the blog on Patreon.

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

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Anime/Manga

Last Gender: When We Are Nameless Volume One

May 10, 2023 Jack Scheibelein 1 Comment

Welcome, weebs, to Animated Observations

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The queer community, especially in the U.S., is a hard place right now. It is easy enough for someone who does not pay attention to politics much to see a local pride event or the litany of advertisements from major corporations supporting the queer community that everything will be fine. The reality is much different.

Rather, many areas of the country are still significantly hostile to LBGTQ+ people. The southeast, which I call home, is particularly bad given the overwhelming conservative majorities across state and local governments. Said conservative majorities are also actively being used to try and regulate the ability of gay and transgender people to exist publicly.

That being said, these issues also hold true in Japan, where according to Equaldex, overall governmental and public attitudes toward queer people are still a fair bit worse than in the States. Outside of big metropolitan areas like Tokyo, rights for LGBTQ+ people are pretty up in the air. All of this is to say that queer representation is more important than ever, and Rei Taki’s Last Gender: When We Are Nameless is a fairly interesting attempt at it.

The manga focuses on a queer hotspot called BAR California, where folks from all walks of life can meet and do whatever, and yes I do mean whatever. Most forms of intimate action are not only allowed but actively accommodated. It is here the story proceeds through a number of character vignettes, each representing one or more parts of the alphabet soup and telling their stories.

One preface worth putting out there immediately is that, while this manga is not necessarily supposed to be porn, it does contain a good amount of sexually explicit images. After all, the primary focus is on dating and hookups. Even I did not realize it until after buying the thing, though the volume being the only one in plastic wrap on the entire shelf probably should have been a tip-off. While there is something to be said for depictions of queer people being overly sexual, Last Gender does so in a way that is both informative about various identities and also honest about the struggles these identities bring to its characters.

A good example of this comes in chapter two, which focuses on a trans woman named Ran. Given her gender identity and attraction to both men and women, Ran has often been fetishized to the point of self-hatred. It is only through another character’s persistence in hanging out with her that she is able to finally find someone who accepts her, which makes for a short and sweet ending.

However, as enjoyable as the series is, it is also not without its problems. For starters, given that each character only gets about a chapter, outside of BAR California’s seemingly lone employee Yo, a lot of development is crammed into about 20-40 pages each. This makes a lot of arcs seem incredibly rushed, despite the point of the manga being to give these characters space to tell their story. It is possible that some of them will return in later chapters since there are two more volumes afterward, but as a first impression, it leaves a lot to be desired.

The second issue ties in with the first, which concerns the identities of the characters. Given how little space each person is given, the core aspects of their queer identities seem almost trivialized in how rushed out they are. Some scenes feel incredibly awkward, like when Ran drops her pants and just shouts out that she is trans and bisexual at Mao as if Taki realized how many pages were left in the chapter just needed to fill some kind of identity quota.

Still, for as rushed as it can feel at points, there are enough tender moments to make up for it. Masanori’s chapter about being bigender was particularly moving, especially since it can be harder for older queer people to express themselves given that social attitudes toward them tend to fall more negatively with older demographics.

It is by no means perfect, but given that it is only three volumes total, there is a decent chance I will finish it out, for no reason other than having nothing else to read. Last Gender offers a unique perspective when it comes to those who are still, by and large, forced to negatively contend with their queer identity due to societal heteronormative pressure. Those who are looking for something a bit more openly sexual on these issues should give it a chance.

Have you read Last Gender? Let me know down in the comments.

As always, special thanks to Jenn for continuing the support on Patreon.

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

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Anime/Manga

Life at the End of the World – Yokohama Kaidashi Kikou Omnibus Volume One

May 3, 2023 Jack Scheibelein 2 Comments

Welcome, weebs, to Animated Observations

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After watching and writing about Yokohama Kaidashi Kikou back in 2022, it was exciting to learn that the original manga series which had at that point never seen an English print, would be translated brought state side officially. Though I was admittedly a bit inebriated which left me in a state of feeling a bit more warm and fuzz, watching the OVA adaptations of the series left me excited to get into the series proper. Now, through kind of forgetting about it because of school and spending the last few months doing other stuff, it is finally time to talk about this manga.

For those who are coming across this series for the first time and those who need a refresher, YKK tells the story of a future earth where natural disasters have drastically shifted the land and human society. Alpha, a humanoid robot, runs a small coffee shop which was made by her owner. Her owner, absent on a journey far away, leaves Alpha the shop to look after. Now, she must deal with the day to day of running the shop while finding out more about her self in his absence.

Damn, The Apocalypse has Never Looked Better

Mangaka Hitoshi Ashinano received the Seiun Award in science fiction for Yokohama Kaidashi Kikou after finishing the series in 2007, and while the exact criteria for that award are unknown to me, it seems likely one of the big contributing factors was the series’ beautiful art and scenic shots.

In fact, it would not be a stretch to say that the landscapes and backgrounds of this series contribute as much as the characters who walk and drive around on them. The world has shifted greatly in this future version of reality, and while the end times are often characterized by immediate devastation and hardship, the series pushes past that and looks at the aftermath, what is left behind and how these natural disasters shape the land and human involvement with it.

One of the series’ most iconic scenes involves Alpha staring down at a city that has been submerged under water due what is assumed to be tsunamis and flooding. While a story focusing on imminent danger and survival might focus on the horror of these scene, Ashinano instead enhances the beauty of the scene by showing the somehow still functioning streetlights turning on to glisten in the water, creating a lightshow of the bay.

An admittedly fantastical example, sure, but YKK is layered with shots of Alpha’s long drive over rural and previously developed landscapes, of humanity which has returned to a more immediately communal style of living. This new landscape is not just a byproduct of disaster, but endemic to there new way of life. Capturing these scenes and moments is itself a work of art beyond the story of the manga itself. That being said,

Oh to Be a Robot Making Coffee

In stories like Yokohama Kaidsashi Kikou, narrative exists usually as a compliment to some primary objective and not necessarily as the main focus. Of course, how much a narrative actually matters in a given series as defined by its relation to theme is up for debate. Rather, this is to say that narrative remains less of a focus in and of itself. Still, the cliché that “nothing happens” is highly reductive.

Sure, Alpha spends a lot of time sitting in a coffee shop waiting for anyone to show up and give her something to do. In that sense, there is a bit of empty space in events. However, that empty space still progresses the manga’s overall story. Whether contemplating her relationship with her owner or reflecting on the found family she has in Takahiro and the old man, there is a sense of development turned appreciation, one that is implicitly juxtaposed against her immortality as a robot. Subtlety is by no means the only approach to storytelling, but it is an art form worthy of appreciation.

In this sense, Alpha’s bonding experiences with the other characters serves as the big moments that in other series would be payed off with a fight scene or battle of the mind. Her relationship with Kokone is another example of this. Being the only other robot she has met in a long time, Kokone allows Alpha to better understand herself and vice versa. It is not entirely clear at this point in the story that there are any romantic feelings involved, but like…c’mon, look at them. The two literally do music together along in their room. It does not get much more implied queer relationship than that.

Splitting the Difference

It may at first seems like there are a lot of disparate elements at play in YKK. New landscapes, humanoid robots, even magical creatures like the Osprey who seem content staying out of plain sight. One might even assume that a story like this would be far to busy to work based on the description just given. However, that is far from the truth.

At least so far, the story of the manga has allowed ample room for Alpha’s journey to proceed in a more open world direction. Each day is her own, and with each chapter comes a new adventure/potential friend with whom to share a moment. Still, the landscapes are never left to the sideline, and often become a focus of many of the chapters, such as when Alpha decides to try out the camera her owner sent.

Conclusions/Predictions

In truth, whether or not I write about the rest of the series from this point on is a bit up in the air. Really, this was just an excuse to write a bit more one of my favorite OVAs. That being said, there is a lot going on given that this first volume has over 20 chapters. For my money, there is probably going to be more of a focus on Kokone and Alpha, as well as Takahiro and the Osprey.

Have you all been reading Yokohama Kaidashi Kikou? Let me know down the comments.

As always, special thanks to Jenn for supporting us on Patreon.

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

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Anime/Manga, Initial Results

Initial Results – Konosuba: An Explosion on This Wonderful World!

April 26, 2023 Jack Scheibelein Leave a comment

Welcome, weebs, to Animated Observations

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It has been a hot minute since anything Konosuba-related was on the air or being discussed broadly, so when I heard Natsume Akatsuki’s spin-off series focusing on Megumin was getting an adaptation, there was indeed a bit of excitement on my part. The show has always been about stupid, crass isekai brand humor, but it never really pretended to be anything else, and in that sense, it was pretty funny.

Meanwhile, Megumin was always one of my favorite parts of the show, even if the jokes involving her were a bit one-note and usually ended in something exploding. She added a flavorful overconfidence that balanced out against the other three idiots on screen.

If it was not obvious from the title and promo art, Konosuba: An Explosion on this Wonderful World focuses on Megumin, telling the story of growing up and learning magic in her home village. Though the place is relatively small, there is no shortage of apparent problems, be they monstrous or human. Despite it all, Megumin…is still trying to learn explosion magic, which is widely considered a joke.

Despite some good attempts, the series has thus far left me a little underwhelmed. This is not to say it is bad by any means, but the opening episodes do not have as much of the zaniness that was present in the original.

Still, my overall disappointment so far might be attributable to a couple of things. First, the original series aired when I was still in high school, and though saying my sense of humor would has changed drastically would be a lie, there is a sense of sameness to the comedy. There is a sameness to it that is not as funny as the first time.

Second, a big part of Konosuba‘s comedic success was its character dynamics. The show was funny not necessarily because of anyone individually, but because the stupid was passed around among the main characters and gradually built. There is some of that present, like with Megumin and YunYun’s budding rivalry/friendship, but rarely does it rise to the level of laugh-out-loud.

Still, harping on it this much maybe sells it a bit short. Despite Megumin’s one-notedness in the original, this side story has done a solid job at making her a more interesting and complex character. It is clear that her village is suffering from poverty and lack of resources (still mostly lack of intelligence but it is fine to but that aside). Even if her pursuit of explosion magic is quite literally a joke, it is fun to try and watch the underdog succeed.

Overall, it feels like a fine addition to the Konosuba universe…so far. Hard to say where it will go without having read any of the source material. However, I do hope they push more of the side characters like the series has been trending towards, because, otherwise, it will probably end up being just ok.

How do you feel about the new Konosuba series? Let me know in the comments.

As always, special thanks to Jenn for supporting us on Patreon.

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

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Anime/Manga, Initial Results

Initial Results: Skip and Loafer

April 23, 2023 Jack Scheibelein 1 Comment

Welcome, weebs, to Animated Observations

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Spring 2023 continues on, and while everyone is still marveling at Suzume and Oshi no Ko, I have seen neither yet. However, the stuff I have watched from this season has generally been in the range of “eh” to “pleasant.” Most of it was picked up on a whim, and half of it was not even on my list of planned watches. However, one show did bring a bit of promise, even if it feels a bit slow-going.

Skip and Loafer tells the classic Hallmark Christmas movie tale of a young girl moving to a big city. Mitsumi Iwakura is now living in Tokyo with Aunt Nao and has plans of conquering high school in order to pursue her dream of working in government and revitalizing rural areas. However, she seems to be running into problems already and is definitely gonna need some help from friends new and old, including a pretty boy with a mysterious background Sosuke Shima.

Talking about the quirks and quips of a slice-of-life series for the millionth time probably would not make for a particularly interesting post. Instead, it would be more worthwhile to instead talk about what makes the anime pleasant to begin with.

For starters, the show is refreshingly optimistic. While Skip and Loafer does delve into Iwakura’s worries about living in a new city and making friends, it also presents a main character who is endlessly determined to succeed and even has some fun along with way. There is definitely some push and pull so far when it comes to those two things, but the series never delves into straight-up doom-and-gloom territory. At least, not yet.

Despite it only being three episodes in, Shima has already been hinted at being a lot more than he presents himself as. Based on his reaction to said information, it does seem like it will be a pretty big plot point later on. Otherwise, Shima’s above-average good looks tend to contrast with his down-to-earth personality and chill vibe. Though, to Iwakura, he more often looks like a savior, or her…dog. Yeah.

The minor characters, despite only getting a little bit of screen time, already seem to be coming into their own. Iwakura’s previously mentioned Aunt Nao seems to be dealing with her own troubles of living life as a trans woman in Tokyo. Though it is not out right stated, there are plenty of hints dropped to make a safe assumption about her queerness.

There are also Iwakura’s various friends who she appears to get close with rather quickly. There is, of course, her best friend who she leaves says goodbye to in the opening scene, and who she calls regularly in order to talk about adjusting too city life. However, she also manages to pick up a few other friends outside of Shima. Most notably, Yuzuki, who drops her cool loner persona in order to reach out to Mitsumi while she is having a bad time at karaoke.

Skip and Loafer is not much more complicated than a good cup of coffee on a Saturday morning, but it does not need to be. Its charm lies in its organic character interactions and the all to relatable set up of finding oneself in an unfamiliar social environment and just hoping for a friend or even just someone who cares. It is not pushing the boundaries of the medium or anything, at least not yet, but it would not matter if it did, cause right now it is enough.

How do you all feel about Skip and Loafer? Let me know in the comments.

As always, special thanks to Jenn for supporting us on Patreon.

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

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Anime/Manga, Initial Results

Initial Results: Hell’s Paradise

April 19, 2023 Jack Scheibelein 3 Comments

Welcome, weebs, to Animated Observations

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The internet truly is a blessing…in some ways, that is. It would have been hard to imagine series like Blue Flag, Chainsaw Man, or Spy x Family to be housed under the Shonen Jump library just 10 years ago, and yet, with the advent of Shonen Jump’s online service Jump+, artists have been given a lot more creative freedom and control over the content they put out. The same could definitely be said of Hell’s Paradise, another “dark” shonen that has added to the popularity of the service.

Hell’s Paradise follows Gabimaru, a man raised in a village of assassins in which no one is allowed to leave. After realizing just how deeply he cares for his wife, the daughter of the village leader, he plans on retiring and leaving with her. However, he is betrayed and sentenced to death by the chief for his crimes. While getting ready to die, he meets a woman, Sagiri, who offers him another chance by finding the elixir of life and getting a pardon from the shogunate, an offer he gladly excepts.

To be completely honest, kind of thought this would be a harder sell on my end. Outside of Chainsaw Man, none of the edgier shonen properties have necessarily resonated with me all that well. I enjoyed what I saw of Jujutsu Kaisen, but never ended up finishing it. The Ichinose Family’s Deadly Sins has been a decently enjoyable read, but nothing that could really be called great, at least not yet.

Still, to say I am not hooked yet would be a lie. To start, the anime has a beautiful aesthetic, especially when it comes to the scenes involving the island. The unnatural beauty combined with the stark reality of just how much danger lurks further in is genuinely chilling at times, especially as of episode three, where we see some of those dangers firsthand.

Though definitely not my favorite Shonen mc, Gabimaru does offer a nice change of pace. Despite probably being stronger than every random isekai protag that spawns in each season with enough magic bullshit to destroy the planet, his character is written in a way that it feels earned. Though, maybe suffering through is a better way to phrase it. His battle between the labels others have put on him versus the authentic feelings he has for his wife is also a narrative worth getting behind.

Weirdly enough, a lot of that also applies to Gabimaru’s partner in adventure, Sagiri. Sagiri also has a lot of problems stemming from self-identity, specifically when it comes to her father’s respect and her existence as a woman trying to be an executioner. Her investment in trying to help Gabimaru can be seen as stemming from her relating to Gabimaru in his quest for self-acceptance.

There are, of course, the other criminals who are racing against Gabimaru for the chance at a pardon. However, no one who has been implied to have any importance has really gotten the chance to show off their personality to any significant degree. At least, not beyond a few scenes during the third episode where the show gives a glimpse into their murder methods.

Given that the manga has thirteen volumes in total, amounting to around 127 chapters, it seems fair to say that this first arc is not likely to be the only major one. In that regard, it will be interesting to see where the show develops from here and what elements it chooses to emphasize. As of right now, though, it feels as though the source material is being well-represented.

How do you feel about Hell’s Paradise? Let me know in the comments below.

As always, special thanks to Jenn for supporting us on Patreon!

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

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Anime/Manga

Things are Getting Weirder: Blood on the Tracks Volume Two

April 16, 2023 Jack Scheibelein Leave a comment

Welcome, weebs, to Animated Observations

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If the premise of a mom killing one attempting murder on one of her nephews while simultaneously traumatizing her only son wasn’t enough, oh golly gee does this next part have a nice little surprise.

Volume 2 largely focuses on the aftermath of the first’s climax, resolving the dramatic moment only to then simultaneously build on another dramatic moment. This collection of chapters also delves somewhat into the developing, or rather complications with, Seiichi’s relationship with his crush. Despite seeing her true colors, our main character is still inclined to trust his mom, with all the problems that may bring.

Ok, But Why Though?

Definitely a question better suited for someone with a degree in childcare or developmental psychology. However, in the context of the story at hand, there does seem to be a more obvious answer.

In seeing the heinous act committed by his mom, he has now developed two distinct images of his mom. These two images, one a loving mother and the other a horrible murderer, are strictly at odds with each other. In other words, Seiichi simply cannot process what has happened despite witnessing it with his own eyes, in no uncertain terms.

Oshimi utilizes this clash of ideas in our protagonist’s mind to its utmost power, often showing him paralyzed in fear under the watchful eye of this new motherly persona.

Great Facial Expressions

The author also continues to employ a frankly scary range of facial expressions in his characters. In fact, this volume arguably does more to display this insane talent than the first.

This makes sense however, since the aforementioned first volume climax left Seiichi with a lot of emotions to express. Confusion, anger, regret, doubt: all of it is there in full force. All of it, however, with a sense of things being still worse yet to come.

Of course, Seiko contributes to this as well, though it often is not the expressions themselves that hint at her inner workings. Rather, her lack of a clear facial expression, hidden through clever paneling cutoffs and shadowing in the dark halls of the hospital, makes her all the more terrifying.

Love is in the Air?

In more ways than one, it would seem.

Normally, getting a love letter from your crush should be a dream come true. However, while Seiichi is still processing the emotions from the previous days, he is not really in a state too accept or deny Fukiishi’s feelings.

After refusing to visit Shigeru in the hospital again, Fukiishi visits Seiichi while his parents are out. Clearly this is not the right time. However, after forgetting something at the house, Seiko walks in her giving a note to her crush. Fukiishi then leaves hurriedly, leaving mom and son alone.

What comes next is maybe the strangest scene in the series thus far, where Seiko takes the letter and forces the two to not only read it together, but then tells Seiichi he is not allowed to love her, and tears it up with him while the two lay down on the bed. The preceding images of his face torn up into pieces of paper symbolizes his investment in the note and his continued confusion surrounding his feelings towards Seiko.

Conclusion/Predictions

There is a lot I could unpack when it comes to that ending, but I think I will save that for a bigger post at the eventual conclusion of the series. For now, it will be interesting to see where the story goes. Personally, it seems as though much of focus will be on this continuing clash of his mom’s personalities in Seiichi’s mind.

How do you feel about Blood on the Tracks? Let me know in the comments. Also, for those who missed the introductory post for this series do check that out.

As always, special thanks to jenn for supporting the blog on Patreon.

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

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Anime/Manga, Observation Deck

The Observation Deck: Buddy Daddies

April 9, 2023 Jack Scheibelein 3 Comments

Welcome, weebs, to Animated Observations

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Happy Easter to anyone who celebrates!

Kids are…great. For people who want them, that is. Little bundles of joy and chaos that take up time but give return a sense of meaning and purpose. Sure, they can be rude and a big handful sometimes, but that is true of every kid. However, they probably should not be a goal for people who work in the murder business.

Buddy Daddies focuses on two 20-somethings named Rei and Kazuki who live and work together. They also just happen to be assassins. One day, while doing a relatively normal job, all things go awry when a young girl hops into the elevator with Kazuki and jeopardizes the mission. The two kind of end up killing the girl’s father on said mission, and as a result take her in while they figure out what to do, that is, if they can figure out what to do.

To be completely honest, this is not a show I went into with high expectations. It has a solid art style and interesting hook, but nothing about it felt like it was going to keep me hooked. Yet, coming out the other side of the metaphorical tunnel, my perspective has changed quite a bit. That being said, let’s talk about Buddy Daddies.

So…It’s Just Spy x Family?

No. Well, mostly no. There is definitely some worthwhile comparison and analysis in the odd three member family structure, as well as the immediateness with which these seemingly unrelated worlds have now collided at the beginning of their respective stories. It might even be worth discussing how both series deconstruct the traditional nuclear family model in their storytelling, but that would be a whole other post.

However, that is about where the fair comparisons come to an end, because the situations and character dynamics are a fair bit different. Whereas Spy x Family explores the dynamics of living under Cold War era government hysteria, Buddy Daddies has a lot more laid back of an atmosphere, even despite Kazuki and Rei both being killers. The two seem to spend most of their time in Rei’s apartment waiting for jobs, at least before Miri.

Miri being their “daughter” creates something of an obstacle for the two. Rather tan safely being able to complete their missions, they are forced to raise and look after a small child who otherwise has absolutely no idea what is going on.

The Assassins Dilemma

If it was not apparent already, Miri creates a bit of a complication in Kazuki and Rei’s ability to do their jobs. Not only does it make Miri less safe since she could theoretically be targeted at any time if their connection was known, but also leaves the two of them compromised and less safe as well. There is also the matter of raising the daughter of a man they killed and having to dodge questions about her family, at least until later episodes.

While this moral conundrum is certainly not lost on our main characters, it also never feels sufficiently addressed either. The show carefully skirt around addressing any fault or conclusion the same way Kazuki and Rei have to dance around the subject with Miri. Rather than taking time to talk about it, Buddy Daddies chooses to bring it up and then immediately change the subject.

The series does seem a lot more focused on its comedic aspects, so at least in that regard it is understandable that they would stray away from getting to heavy. Still, there are far too many of said heavier moments interwoven in the show already for it to simply be ignored. It seems the writers were either afraid of commitment or simply did not have enough time to properly address it in a 12 episode time frame.

Sound and Style of Killing

It feels fair to say that P.A. Works has a decent track record when it comes to making solid looking shows. Not only is the animation good when it needs to be, like during the show’s somewhat frequent action sequences, the character designs also look fantastic. Katsumi Enami utilizes a lot of his previous work on manga such as Baccano in order to create some fantastic looking characters. idk about anyone else, but Kazuki is my new favorite male wife.

As far as its sound, Buddy Daddies also draws on James Bond-esk thrillers for the music, utilizing a lot of jazz-sounding tracks with big horns and even bigger melodic moments. The opening and ending, meanwhile, sound like fairly normal for the times j-rock and j-pop, respectively. Not bad, but nothing I have personally been clambering to hear a lot.

Conclusion

Realistically, this is not a show I would have sought out on my own. However, outside of complaints about the story structure and pacing, there is not a ton worth hating on. The great comedic dynamics between Kazuki, Rei, and Miri, the queer-coded-ness of two guys raising a daughter together, Even Rei’s storyline with his father ends up being pretty interesting. So yeah, give it a watch, its a good enough time.

78/100

How do you all feel about Buddy Daddies? Let me know in the comments.

As always, special thanks to Jenn for supporting us on Patreon

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

Anime/Manga

Blood on the Tracks Vol. 1

April 5, 2023 Jack Scheibelein 1 Comment

Welcome, weebs, to Animated Observations

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(SPOILERS AHEAD)

There’s a lot to talk about when it comes to an author like Shuzo Oshimi, much of which has already been discussed in various posts here on this blog. From his strange story beats to the way his characters exude emotion and insight out of every expression and panel. Given these strengths in his previous works (The Flowers of Evil, Inside Mari, etc.) it makes sense he would also attempt to leverage those skills into something even more sinister in subject matter: 2017’s Blood on the Tracks.

The first volume starts off normally enough, introducing Seiichi and his mom Seiko waking him up for school. His life is about as normal as any other middle schooler: a group of nerdy friends, a painfully obvious crush in Fukiishi, and his extended family which he is relatively close with. However, it becomes obvious through Oshimi’s illustrations that something about this famiily, more specifically Seiko, is not quite right.

Incredible Pacing

Honestly, forget the rest of the series at this point, because this first volume has some of the most amazing build-up and payoff of any volume one out there. No, seriously. I had the idea a while back of making a video about how to write a good first episode of anime, my example of which was going to be The Promised Neverland. I were to attempt a similar video about manga, this would almost certainly be my primary example.

For starters, Oshimi does a great job at setting the scene for what would otherwise be a pretty normal middle school boy and his family. Seiichi gets up in the morning to his mom making breakfast and his dad going to work, he darts off to school and wants to hang out with his friends, he comes home to find his mom working on dinner. The extended family comes over for a dinner and Seiichi gets to see his cousin, Shigeru. Normal, everyday stuff.

However, it is in those tiny, seemingly unimportant moments where Oshimi arguably does the most important storytelling. Whereas Seiichi largely sees an overprotective mom who wants to love her kid, there is something else their, lingering behind Seiko’s eyes, which is payed off beautiful in the third act. The impact of her pushing Shigeru off the cliff was maybe a tad diminished because of prior knowledge , but it was still an incredibly powerful scene, to be sure.

Beautiful Character Writing

The aforementioned scene with Seiko and Shigeru is indeed a stand out moment of the first volume. However, nothing about that moment would succeed without Oshimi’s great character writing. I already briefly mentioned the interplay between Seiichi and his mother, but there are a lot of other great elements in that regard.

Seiichi’s extended family also feels fairly fleshed out even in the first volume. His aunt, while not outwardly rude, does seem the loud and obnoxious type, who takes small jabs but never wants to argue about it. Shigeru follow’s in his mom’s footsteps by being generally somewhat obnoxious. Even Seiichi’s own dad feels fairly conflict avertin and much more in like with his other family.

All of this sets scene for a mom that is clearly not mentally or emotionally stable. Nothing about her condition is necessarily confirmed to be caused by the behavior of everyone else, but Oshimi knows how to make people understand through his use of great facial expressions and writing. The subtlety of it all is what makes it all is what makes it that much more terrifying, because things family members slowly going crazy are not always so obvious.

Hit or Miss Art

While Oshimi’s character work is usually spot on, his backgrounds can be a bit more…inconsistent. Not to say that expansive world-building and setting are usually the most important part of his work, because they definitely are not. However, it does become a bit more noticeable in certain spots in contrast to the panels where his characters are being particularly expressive.

The sports where said contrast is most evident is in the scenes on the mountain, where some parts look beautifully and painstakingly drawn and shaded and others…kinda look like some squiggles that were supposed to be stand ins he would replace later, or are just missing entirely. It is not the biggest deal and honestly does not show up as much as I am probably leading on, but it is definitely something I hope does not rear its head too much going forward.

Conclusions/Predictions

The Flowers of Evil was a thriller in a much lower stakes sense, where Kasuga is mentally hamstrung by his one decision up until the very end. Blood on the Tracks takes a bit of a different approach, throwing Seiichi into a decision which is definitely not his own and is likely to come with more severe consequences. Hard to say exactly where it will go, but there’s definitely feels like there is going to be some severe psychological damage.

How do you all feel about Blood on the Tracks? Let me know down in the comments. Also, feel free to read along with me if the series seems interesting to you. My plan is too put out one post on the series every one and a half to two weeks, so about every three to four posts I put out.

As Always, special thanks to Jenn for supporting the blog on Patreon.

If you can’t, or just don’t feel like it, no worries. Thank you all for reading, and goodbye, for now, friends!

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Anime/Manga, Opinion

A Few Recommendations on Recommendations and My Philosophy on Sharing Media

April 2, 2023 Jack Scheibelein Leave a comment

Welcome, weebs, to Animated Observations

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For those who haven’t seen, Anime Hanabi put out a great post on how to recommend anime to beginners. It talks about things like asking questions of the recommendee and not throwing them into something super obscure right away. It pretty much inspired my wanting to write about the subject so please go show it some love before continuing here.

It feels fair to say at this point I have spent a long time writing about anime, primarily in the form of this blog, but also in more formal, journalistic settings. One such setting was as a columnist for my college’s newspaper. The column, called “Anime Tour Guide,” was written as an introduction for newcomers to the world of anime. It also, unfortunately, worked out that a good chunk of said column was written during the pandemic era when people had a lot more free time to explore new media.

I say this not to purport to be some expert (probably more the opposite tbh). Rather, because writing about anime in that context allowed me to reflect a lot on my own recommendation philosophy. Something as simple as recommending an anime, or really any piece of media, one likes might seem insignificant, and for a lot of people, it probably is.

However, in an age where media is being produced faster than ever, there is now so much that could be considered worthwhile. Additionally, people will always have media that is important to them. Thus, finding out what that media is can be, and often is, important to a good recommendation. After all, the best way to predict what people will like is to know what they already do.

That being said, here are some other things to keep in mind when giving recommendations.

Consider Their Interests Across All Media

This might seem like an obvious one but it still feels worth pointing out. Now, it is true genre tends to express itself differently depending on the medium it is in. Horror literature can be fairly different than horror movies, sci-fi novels different than sci-fi tv shows, etc. Still, it is not as if they are completely different entities. After all, the reason genre exists is to group together similarities in how various media expresses itself.

So, consider asking said friend, partner, or whoever if they enjoy a specific genre across media. Hell, it does not even necessarily have to correlate with genre specifically, it could be something as simple as a certain trope or storytelling device. While these things should never be a box, they can act as helpful guides.

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Suggest a Series That Relates to Them

Hot take, but it seems as though people often like relatable characters. Who knows why?

In all seriousness though, it is a nice feeling to see elements of yourself reflected in storytelling. Representation does, in fact, matter. While said representation still is not perfect, it can be easy to forget just how far good representation of minority groups has come. Not to say people should just accept bad representation for the sake of any representation, but it is all about perspective.

However, representation does not have to be that deeply sociological or personal. Even just finding a series about one of their hobbies can work as well. For instance, there are plenty of opportunities to find a cross-section of their favorite sport and a related sports anime. Hell, even people who like crafts or building things could probably get some enjoyment out of Do It Yourself!!.

Be Flexible

Lastly, and this is somewhat of a challenge to Anime Hanabi’s original post, I think it is ok to ignore popularity altogether when recommending a series. Of course, if the person being recommended to is someone who is looking for a big active fan community, maybe this will not hold true, but otherwise, it is totally fine to recommend things outside the context of popular opinion.

Using myself as another example, I love March Comes in Like a Lion. It still probably represents the plurality of my word count focus on this blog even having not talked about it in a long time. However, my recommendation of the series is never based on its perceived popularity or lack thereof. It is a deeply personal narrative that reflects on self-identity and found family, elements which many people I know personally are fond of in storytelling.

If a more mainstream show seems like it would better meet their tastes, go for it. If a more obscure show would do the same, send it their way. Popular opinion does not necessarily determine how much someone will enjoy a recommendation.

What is your approach to recommending things? Let me know down in the comments.