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Anime Reviews 2011 Vol. I
Vampire Knight Guilty Vol 3 (Episodes 8-10) 
1 Disc (Distributor: Manga Entertainment) Running time: 70 minutes approx.
The cat – or should that be “bat” – is now out of the bag: Yuki Cross is in fact a pureblood vampire and sister to Kaname Kuran!! And if that wasn’t enough Yuki is also betrothed to her own brother! Zero, as one would expect, doesn’t take the news that well; okay, that’s a slight understatement – he asks fellow vampire hunter Yagari to kill him! Oh dear…
Meanwhile Rido Kuran is still causing havoc around Cross Academy having possessed the body of his son, Shiki. A fight with female vampire Rima results in Shiki fighting back against his father’s spirit and seemingly coming up on top although at a price. Realising the inevitable, Kaname uses his blood to resurrect Rido but the rather fraught history they share leaves Kaname unable to deliver the killing blow to Rido. Upon his awakening, the many vampire followers of Rido descend upon the Academy looking for some prime human sacrifices for their master to feast upon, prompting a hasty lockdown to protect the students and an ensuing battle of the vampires. But Rido only has one target in mind – the recently reactivated pureblood Yuki.
As far as story development goes this latest volume of Vampire Knight Guilty is thus far the most progressive with nary a moment wasted and things moving forward in leaps and bounds. The shocker of Yuki’s true identity is just the start – the story behind it is likely to prove just as scandalous. Quite what the Japanese fascination with incest is remains a mystery for us in the West, and while it has already infiltrated the anime and manga world on many a prior occasion (usually for comedic purposes but quite often not), it has now become a thorny plot twist in this sometimes light gothic romance series – although there still appears to be some grey area presents as to whether Yuki and Kaname are direct blood relatives. Either way Yuki is initially appalled that she has been lusting after her own brother while he has less compunction concerning his feelings for her and is more than determined to take his little sister as his bride. Regardless her new vampiric tendencies overrule her heart and head and Yuki wastes little time in feasting on the blood of her big brother. A slight spoiler but this sort of thing does appear to run in the family. It’s unlikely we’ll have any graphic bedroom action between the two, as in other shows such as the recent Yosuga no Sora, but the success or downfall of this potent development remains solely on the mindset and opinions of the viewer.
There seems little room left for any more revelations in this series which hopefully means an action packed final volume awaits. We get a small taster in the last episode in this set when the likes of Rima and Hanabusa get to show off their powers while Academy principle Kaien Cross finally gets serious and heads the front line defence with sword in hand. With all the pieces of the puzzle apparently laid out, they just need to be put in place. But as the three episodes on this disc demonstrates, there just could still be a few surprises left to alter the direction en route to the show’s climax. The key question now is the role Zero will play in this as Kaname lays his cards out on the table for him; but will vengeful twin brother Ichiru interfere and spoil things?
A decidedly more eventful and thus more fulfilling instalment of Vampire Knight Guilty, the seeds have been sowed for a potentially explosive finale. Hardened fans will be on tenterhooks in anticipation for the final volume once the credits roll at the end of this one.
Extras:
English Language
Japanese Language
English Subtitles
Main Feature: 
Extras: 
Nabari no Ou Collection 1 (Episodes 1-13) 
2 Discs (Distributor: Manga Entertainment) Running time: 309 minutes approx.
Miharu Rokujo is a 14 year-old schoolboy who just doesn’t care about anyone or anything; in fact he is probably too apathetic to be apathetic. Even the news that he has within him a latent ninja hijutsu called the Shinra Bansho fails to faze him until a ninja seeking the power attacks him wanting the power for himself. Suddenly the invitation to join the school nindou club from classmate Koichi Aizawa and teacher Tobari Durandal Kumohira sounds like a prospect worth considering. Moody young Miharu is about to have his eyes open to a whole new world as he learns his destiny is to become the King of Nabari thanks to the ultimate ninja power fused within his body.
One of the rare titles to be released this side of the world with its original Japanese title intact, Nabari no Ou – literally translation: Ruler of Nabari – is JC Staff’s adaptation of Yuhki Kamatani's manga that begins as your average fantasy ninja affair but quickly takes a more introspective look at the burden and responsibility of possessing a life changing power. Essentially a coming-of-age tale, Miharu is not the only one who embarks on a life changing journey which is punctuated with fierce and often bloody battles that break out between the various factions that wish to benefit from the power of the Shinra Bansho.
Miharu, Aizawa and Kumohira are quickly joined by feisty samurai girl Raimei Shimizu, from the village of Fuma who arrives to test the possessor of this fabled hijitsu. You can probably already imagine her disappointment when she is confronted by a shoulder shrugging Miharu, but she is the first to discover that his inherent apathy is born out of not wanting to see others suffering. Raimei convinces Aizawa and Kumohira to take Miharu back to her village to see if the clan leader Kotaru Fuma can seal the Shinra Bansho but upon arrival find the village under attack from the Kairoshu Clan, the ninjas who invented the Shinra Bansho and naturally want it back in their possession. This is our introduction to the dangerous ninja Yoite, a young lad barely older than Miharu whose life is ebbing away due to the use of his devastating powers. Amazingly the two rivals form a bond with Yoite requesting that Miharu uses his hijitsu to erase Yoite from existence; in return he will protect Miharu and see him become the ruler of Nabari. Meanwhile Raimei is in search of her brother Raiko, to seek revenge for slaying their family many years earlier. Christmas at their house must have been fun then.
With the numerous parties vying for ownership of the Shinra Bansho, an extensive cast of characters is guaranteed and with plenty of interaction between them it is easy to get a little lost as to who is who and what their affiliations are. The interesting aspect here though is that not all of the ninjas are essentially “evil” people; they are simply adhering to the ethos under which their have been indoctrinated with as ninjas - i.e: kill or be killed. Even with the universally singular goal of attaining the Shinra Bansho at all costs, a degree of civility is oddly achieved by the end of these thirteen episodes where the opposing groups attend a summit meeting – although signs of it being a convivial experience are not so forthcoming.
Nabari no Ouis something of a curiosity and a deceptive title at that. The presentation is soft and almost shoujo like in style with light pastel colours and effete looking character designs for the male leads. The backgrounds are well detailed yet possess a flat almost innocuous quality about them – the complete antithesis to the usual bold and spectacular action series fare. Indeed there are many fight scenes to enjoy of either sword based scraps or the supernatural style, but the overriding remit is a contemplative one as the main characters come to terms with the substantial changes in their lives and their attitudes towards death. Miharu naturally is the most effected here although it is a gradual one and thankfully not predictably something that occurs by the end of episode one as some series would have happen. Even with this tremendous onus upon him, Miharu still manages to greet each new threat with a “meh” attitude but his heart to heart chats with Yoite and their fatalistic pact helps open his eyes and reassess his priorities. At least we get an explanation for Miharu’s moodiness – albeit a bit of a stretch – which is better than him just being a typical “emo” teen.
The pace may be deliberate and the artwork may have a slightly calming, almost soporific effect but, fight scenes aside, this is not quite as laconic as it sounds. The philosophical and existential musings Miharu and Yoide exchange with one another are the gloomiest this show gets but theses moments are juxtaposed with some frivolous levity, sometimes at the wrong moments but that is a curse we Anime fans must live with as it appears to be endemic within the esoteric Japanese humour. Miharu for example sprouts black devil wings and a tail whenever he ribs someone with his sardonic and wry sense of humour – usually Kumohira.
Overall Nabari no Ou is a strong outing that sets out to subvert some age old concepts with a philosophical bent. The action orientated fan may find the laidback atmosphere too anodyne for their tastes while the more patient viewer should be in their element. Definitely a refreshing change to much of the production line fare we have been getting of late, here we have a show that tips its toes into many different waters but manages to wade successfully in each one.
Extras:
English Language 5.1
Japanese Language 2.0
English Subtitles
Disc 1:
Episode2 Commentary
Disc 2:
Textless Opening
Textless Closing
Main Feature: 
Extras: 
Eden of the East Movie 1: King Of Eden
(Distributor: Manga Entertainment)
1 Disc version - Running time: 78 minutes approx.
2 Disc version – Running Time: 196 minutes approx.
Six months after Akira Takizawa saved Japan from a second devastating missile attack before erasing his memory and disappearing, student Saki Morimi is back in the US in search of him, armed only with his bespoke Noblesse Oblige mobile phone and a cryptic note to return to the place where they first met. Upon her arrival in New York, Saki immediately runs into a spot of bother when she discovers her luggage has been swapped for a small arsenal of weapons and a taxi driver takes off with Saki’s handbag. Fortunately she meets a familiar face at Ground Zero although he doesn’t recognise her. Thankfully the man calling himself Akira Iinuma, claiming to be the illegitimate son of the current Japanese Prime Minister, believes Saki’s story and is willing to help out, quickly settling back into the role of a Seleção, which is just as well: some are still playing the game and they want Akira out of the picture by any means necessary. It’s survival of the fittest for Akira and Saki, even if the former doesn’t exactly know why he’s being targeted.
Kenji Kamiyama’s excellent eleven episode series which hit the UK last year (and subject to a five star review here on Screen-One) ended with room for a sequel and lo and behold here it is. But, instead of another TV series, the story is being continued across two feature length films; and this is where we stumble a little. As enjoyable as this first outing is, it is only the first part and serves more as a prelude for the second part rather than a dramatic instalment in its own right.
But let’s not dwell on what should hopefully prove to be a minor caveat in the grand scheme of things. King Of Eden contains enough intrigue and story developments to make it an enjoyable viewing experience. Japan may have been saved by Akira in the TV series but the results have seen the country become something of a financial pariah by the rest of the world. Ironically, the only real prosperous business of late is the Eden Of The East website created by Saki’s NEET friends, who are now operating out of Akira’s old plush buildings and are living quite comfortably thank you very much. This is ironic when you consider founder Hirasawa was previously an anti-establishment hacker! Thankfully the team’s sense of justice hasn’t vanished and are on hand to help Saki and Akira out as much as possible via their hacking skills. Back in the real world and Akira is something of a poster boy – his omnipresent image under the moniker Air King is both revered and repelled in equal measure, in a similar to say, Che Guevara. Seleção No 1 is keen to take the credit for Akira’s actions in saving Japan but with the man himself back on the scene is equally keen to eradicate him for good. As always Juiz the concierge is on the end of a phone to make the requests happen although even she is starting to get annoyed with No 1, a film maker hoping capture Akira’s last moments on camera. As it transpires, not every Seleção is in synch with No 1’s desires and Akira receives assistance from the least expected quarters.
Essentially this is a case of “back where we started” as far as the plot goes, but this time one can sense that a definitive conclusion awaits us. Let’s hope this is the case for the next film instalment entitled Paradise Lost, as the ending to this film is sudden and arrives just as things start to heat up (literally) and as much as it builds anticipation for the climactic second film, it will no doubt leave a sour taste in the mouths of those who expected much more from this film. It is by no means skippable as it lays the foundation for what is to come; rather it is lacking in any sustained drama of its own to increase the excitement factor.
That said, much of what made the TV series such a treat to watch are again present here: the chemistry between Saki and Akira is delightfully sweet and natural even after the ostensible “reboot”, while the dynamics of the East of Eden mob make for a charismatic bunch of supporting characters. The machinations of the Seleção never fails to amaze as the cat and mouse games between threatens to spiral out of control; the same can be said for the amazing capabilities of Juiz the concierge. And we are still no further from learning the identity of the game’s founder “Mr Outside”. Keen eyed viewers may notice some subtle literary references thrown in by Kamiyama, the most prevalent being those towards the recently deceased J.D Salinger. One can’t fault the excellent aesthetics from animation kings Production IG as they flawlessly match the giddy high standards of the TV series; although since this was a big screen release, one would have expected just a little added dazzle to suit this larger medium.
Fans of the TV series should delight in having more Eden of the East goodness to enjoy and it is certainly a welcome return for this reviewer. Whether one feels slightly short changed by the paucity of any resolute content crammed into the 78 minute running time is a subjective albeit understandable. This perfunctory first movie doesn’t disappoint rather underwhelms slightly, perhaps a victim of the success of its parent series and thus suffers from the heavy burden of living up to such lofty expectations.
But this review shouldn’t end on such a negative note; hopefully the second film –released in Japan last year – will hit our shores soon and with it will come a rip roaring denouement to bring to a close what is already a true joy of a franchise. Can’t wait!
Extras:
English Language 5.1
Japanese Language 5.1
English Subtitles
Disc 2 only:
Movie 1 Newsflash
Movie 1 Preview
TV Spots
Main Feature: Extras: 
Fullmetal Alchemist - Brotherhood Collection 4 (Episodes 40-52)
2 Discs (Distributor: Manga Entertainment) Running time: 305 minutes
Divide and conquer is the theme for this penultimate release in the saga of the Elric brothers. Metal suited Al is caught up in the raging snowstorms of Briggs to warn the splinter group consisting of Marcoh, Scar, May Chung and Winry that the fort has been taken over by soldiers from Central. They eventually meet up and relocate to Ishbal where they make a huge discovery concerning the notes left by Scar’s brother. Meanwhile brother Ed travels with Kimblee and Major Miles of Briggs, who plans to assassinate the former. Ed objects and saves Kimbleee only to be forced into a battle with him and two chimera which results in a surprise alliance being formed. Elsewhere Olivier Mira Armstrong has arrived in Central to admit to the killing of General Raven and asks Fuhrer Bradley – whose true identity as the homunculus Wrath is now apparently the worst kept secret in central – to take her on as his replacement.
With twelve action packed episodes running across these two discs there are once again far to many story developments to successfully summarise in a simple paragraph or two, and to achieve this without spoiling anything is akin to taking out a super-injunction to hide one’s identity without someone blowing it anyway on Twitter! What can be revealed is that we get to learn the origin of the Humunculi and the part that Hohenheim and his doppelganger Father play in this, leaving us with the question: who is the real deal of those two? The machinations and countermoves in Central continue to blur the lines between the allegiances and motives of the players involved which leads to a terrifying quest for power ending up spiralling completely out of control.
If the previous set was heavy on debuting characters then this set is one of returns as familiar faces from earlier episodes make a comeback – some for a brief cameo while others have a more substantial effect of the proceedings. This reminds us of just how rich the cast of this show is and that the scope of the dispensable is rather limited, providing a sense of unpredictability during the many breathtaking battle scenes that take place during these episodes. It’s refreshing to see the feature players are never depicted as invincible or bounce back from a brutal scrap with nary a scratch on them – instead limbs are severed, blood is lost and spells of rest and recuperation are needed to reiterate that this ongoing war between good and evil is a serious and unrelenting one.
By now, the hard sell for this title is pretty redundant, especially if one has made it this far. We are closing in on the end with twelve episodes left yet the series remains remarkably fresh - a testament to the writing and imagination of mangaka Hiromu Arakawa and series adaptor Hiroshi Ōnogi that the twists keep on coming and the outcome and developments are never easy to spot ahead of time.
Another top notch release and in no way a lacklustre, procrastinating, calm before the storm typical penultimate set either. This is balls to the wall FMA and frankly we wouldn’t have it any other way!
Extras:
English Language 5.1 Surround
Japanese Language 2.0
English Subtitles
DISC 1:
Episode 40 Commentary
Episode 46 Commentary
DISC 2:
Textless Opening
Textless Closing
Main Feature: 
Extras: 
Bleach Series 6 Part 2 (Episodes 121-131)
2 Discs (Distributor: Manga Entertainment) Running time: 260 minutes approx.
With the Arrancar having quickly established themselves as formidable opponents for the Soul Reapers it is time for a regroup. For Ichigo Kurosaki that means more training and with the realisation that the only way he could possibly stand up to the Arrancar is to embrace and nurture his inner hollow, Ichigo tracks down Shinji Hirako and accepts his offer to learn how to utilise and control this latent power. This means putting himself at the disposal of Hirako and his motley crew of uniquely skilled Visoreds and immersing in a brutal training programme the likes of which Ichigo has hitherto had to endure.
Ichigo is not alone in searching to improve his skills – Sado undertakes a harsh training programme of his own under the guidance of Urahara and Renji while Ishida continues to be put through his paces by his Quincy father Ryūken. And after a sob session where Orihime laments the fact she is nothing but a burden to everyone having been told by Urahara to sit on the sidelines, the Visoreds snatch Orihime up and work on improving her healing powers. Meanwhile, Tōshirō Hitsugaya, Rangiku Matsumoto, Ikkaku Madarame and Yumichika Ayasegawa receive word from the Soul Society of Aizen’s objective for his latest crusade – to collect 100,000 human souls in order to create a key to gain entry to the dimension in which the King of the Soul Society dwells, with the aim of deposing him. An ambitious lad is our Aizen.
The continuation of this latest arc brings with it a slight sense of déjà vu from the early days of Bleach: Aizen leads a rebellious group against the Soul Society, Ichigo and friends are dragged into the fight and learn new skills to be of further use in battle; rinse, later and repeat. However the fresh cast of supporting characters and the somewhat callous and unquestionably dangerous Arrancar provide our heroes with suitably chilling and interesting opposition this time around. Aizen in particular has grown more sadistic and heartless since the first arc, showing no mercy even to his own acolytes as the eager Grimmjow Jeagerjaques discovers to his detriment.
Unfortunately the second disc is made up of filler material as this adaptation once again caught up too close to the ongoing manga, providing us with another batch of episodes that strengthen the case for an off-season for long running shows such as this. The basic premise sees Matsumoto befriend the spirit of a recently deceased young boy named Shōta Toyokawa who was being attacked by a Hollow. Shōta is no ordinary lad and neither is his younger, also dead, sister Yui and the Hollows know this. To add to the matter, this particular Hollow has the ability to possess any human body it eats the soul of.
Enjoyment of the filler episodes will depend on you tolerance/fandom of buoyant babe Matsumoto who dominates the story as the nominal heroine, and indeed whether one can handle taking a detour the main story arc mid story. While it is nice to see other characters getting a chance to shine, the absence of Ichigo and friends does hurt these diversionary chapters – but fear not as there are only eight of them so normal will be resumed early in the next volume.
Until then, Bleach fans should find this set at least sixty percent enjoyable and shouldn’t feel too bad if they forego the last four episodes on disc two.
Extras:
English Language 2.0
Japanese Language 2.0
English Subtitles
Textless Closing
Production Artwork
Trailers
Main Feature: Extras:
Vampire Knight Guilty Vol 2 (Episodes 5-7)
1 Disc (Distributor: Manga Entertainment) Running time: 70 minutes approx.
It never rains but it pours for Yuki Cross and a chance of some sunlight to enter into her life seems like a wholly optimistic prospect. Yuki’s rampant curiosity about the missing memories of her early life are taking its toll as our long suffering heroine is plagued with horrific hallucinations of her surroundings drenched in blood. Such is the power of these mental apparitions that Yuki begins to lash out at those closest to her, in this instance, vampire nobility Kaname Kuran. Fearing that Yuki will turn on him should she learn the mystery of her past, he declares his love for Yuki and she affirms that she could never hate him. So Kaname asks for Yuki to declare this in the only way a vampire knows how.
Since the core premise for Vampire Knight Guilty is an apparent love triangle we can’t overlook the concurrent woes of the third party in this situation, Zero Kiryuu. His desire to protect Yuki whilst struggling to succumb to his vampiric tendencies, even when Yuki is offering it to him on a plate, is playing havoc with his psyche. And Kaname lording it over Zero as the one getting closest to Yuki stings a lot more as Zero is also reliant on Kaname’s blood to prevent him from turning into a Level E vampire. To complicate matters further, Zero’s twin brother Ichiru is now enrolled into the academy and hell bent on extracting revenge on his brother for the death of Shizuka Ho, refusing to believe that Zero is innocent. But does the vengeful sibling have another agenda to work to and what part does Yuki play in it? And how significant is the return of the seemingly different Shiki?
Manga are either teasing or torturing VK fans with these single disc three episode releases but maters are not helped by the slow pacing of the three chapters in this volume. The distinct lack of action makes for a meandering viewing experience and even the liberal use of silly comedic moments and heavy drama does little to lift the energy level above lethargic. Yet in complete contrast the final moments offer a huge storyline twist and a heck of a cliffhanger that threatens to completely alter the direction of the plot from hereon in – provided that there aren’t any more shock revelations to dilute the impact of this one.
The subplot with the so called “Cursed Twins” presumably was designed to add a further layer of intrigue and tension to the proceedings but for the moment appears to serve as a distraction for Zero to keep him out of the picture with Yuki. Or is it? Kaname one again seems to have his hand in everything that happens at the Cross Academy, carrying with him an arrogant air of being untouchable. However the return of Shiki, who appears to have undergone a personality transplant and now stands opposite Kaname, may be the thorn in his side to burst that self confident bubble.
Aside from the shock cliffhanger this is by-the-numbers Vampire Knight, continuing to pile on the layers of intrigue albeit in this case, at a soporific pace. It is worth reiterating that the release policy for this title is detrimental to fully appreciating it to its full potential and is one better served to a marathon run than in the current stroll. Hardcore fans will probably not mind this but others might find their patience tested.
Extras:
English Language
Japanese Language
English Subtitles
Main Features: 
Extras:
Shikabane Hime: Corpse Princess – AKA Series 1 
2 Discs (Distributor: Manga Entertainment) Running time: 296 minutes approx.
If a person dies full of regret they will be reanimated as a Shikabane, a murderous corpse which is close to being immortal. The only ones capable of destroying them are the Shikabane Hime, female victims of the Shikabane who are supported by a Contracted Monk, members of a Buddhist sect dedicated to battling Shakabane known as the Kōgon Sect. When one hundred and eight corpses have bens slain the Shikabane Hime will be sent to heaven in peace. Orphaned high school boy Ouri Kagami is inadvertently drawn into this ongoing battle when he encounters Makina Hoishimura, a Shikabane Hime in action whose Contracted Monk is Keisei Tagami, Ouri’s adopted elder brother - something Ouri and the others at the orphanage Keisei runs are blissfully unaware of.
The Japanese seem to have a thing for zombies and their love for exploiting schoolgirl heroines for entertainment purposes is legendary so why not combine the two? Shikabane Hime: Corpse Princess – AKA (“aka” is Japanese for “red”) with its Bleach-esque premise does just that. The show kicks off with the “Monster of the Week” formula before a dedicated story arc finally surfaces late in the running – involving conflicting forces which appear within the sect along with outside influences intent on causing as much chaos as possible. This new direction brings with it a slew of additional characters most of whom arrive with no introduction or explanation yet impact the proceedings with apparent carte blanche. The aforementioned deal of the slaying of one hundred and eight evil corpses isn’t revealed until half way through the run, which is rather surprising considering that is supposed to be the modus operandi of our main protagonist nor is it dwelled upon as an intrinsic plot point. We also are not informed until much later that Makina and her family were murdered by a renegade group of Shkabane called the Seven Stars and upon her resurrection, Makina is fuelled by vengeance as opposed to entry into heaven. Exposition and backstory aren’t necessarily required to appear at the beginning of series but this show takes huge liberties in leaving them far too late.
Like many other Anime showsShikabane Hime suffers from an identity crisis, flitting between too many different styles at will - either a sign of the capriciousness of the writers or an attempt to appease as many genre fans as possible. One minute things are dark, bleak, brooding and violent then the next scene has random stupid comedy thrown in complete with the usual affectations with little concern for continuity or juxtaposition - such as the inexplicable running gag of porn loving Keisei (yes the Buddhist Monk!) foisting his prurient tastes on Ouri with girly magazines and idol posters. The supernatural aspect is thankfully handled with keen aplomb and is often wonderfully atmospheric and creepy, in direct contrast to the slice of life antics of Ouri’s school days are largely vapid and pointless. Almost as if by default, the artwork and animation which is equally inconsistent, shifting summarily from the detailed and lovingly rendered to the sloppy and bare, creating an 80’s look to a series made in 2008. Occasionally this does work well within the context of the show, especially in the fight scenes which are arguably the only consistent thing here, while in others areas it leaves things looking tired and unfinished. The character’s faces are either expressive and nuanced or flat and poorly drawn, leaving one to wonder what order studio Gainax animated the show or did they blow the budget on something else?
It is a certainty that some viewers will see more than a passing similarity between lead babe Makina and Saya from Blood: The Last Vampire as their designs – not to mention their missions – are very much alike. However in Makina’s case there is no given reason why she should always be clad in her school uniform (of which she has a seemingly endless supply considering only her ravaged body can regenerate, her clothes can’t) as she doesn’t need to attend school now she is a corpse. That however is the least of the unexplained aspects of this show. Why are Shikabane Hime only females? Granted “hime” is the Japanese for “princess” so the title would be a gross misrepresentation but there is no mention as to why men can’t be resurrected corpse killers too. And were the Kōgon Sect created purely to fight Shikabane or do they have issues with other supernatural forces too? And do they even practice religion at all? And why is Keisei such a pervert and how is the only female Contracted Monk, Rika Aragami, can get away with walking around with her unfeasibly large boobs practically hanging out? Maybe there is more to Buddhism than meets the eye…
Perhaps the answers will be forthcoming in the second series Shikabane Hime: Corpse Princess – Kuro (meaning “black”). Yes, sorry to inform you but there are no resolutions here come the end of episode thirteen, just another cliffhanger ending meaning you’ll have to buy the next series for the conclusion. However, to its credit, this series ends on quite an interesting if slightly predictable note that has the potential to provide us with some exciting prospect for the second season.
This is by no means a bad show and has enough of a hook be it the action or the slow and haphazard unfolding of the story to keep its audience on side. Unfortunately the black cloud of wasted potential hangs heavy over this first instalment which bodes as a dark omen for its successor. Here’s hoping we are proved wrong.
Extras:
English Language 5.1 Surround
Japanese Language 2.0 Stereo
English Subtitles
Disc 2 Only:
Episode 12 Commentary
Textless Opening Song
Textless Closing Song #1
Textless Closing Song #2
Main Feature: Extras:
The Tower Of Druaga Complete Collection 
6 Discs (Distributor: MVM) Running time: 930 minutes approx.
Eighty years after King Gilgamesh single-handedly conquered the evil God Druaga in his mighty tower, Druaga and his monster infested construction are reborn. During the special season called the “Summer of Anu”, the benevolent God Anu reduces the monsters powers allowing armies to attempt to climb the tower and seek the famed Blue Crystal Rod which is purported to grant any wish. This story takes place during the third Summer of Anu, where Jil, a young Climber has arrived at the city of Meskia, a safe stronghold on the first level of the tower, seeking the Blue Crystal Rod.
This six disc collection contains the two twelve episode series that make up this fantasy saga from acclaimed animation studio Gonzo, based on a popular franchise which began with an arcade game that debuted in 1984 (and is cheekily referenced throughout the first series during the episode previews) but knowledge of the storylines of these games is not a pre-requisite when approaching this animated adaptation. The Tower Of Druaga also has the distinction of being one of the very first Anime shows to be broadcast simultaneously in Japan and on the internet in subtitled form for international audiences.
The first series, subtitled The Aegis of Uruk introduces us, to Jil, an earnest young Guardian with his eye on the prize, but falls short of displaying any potential he may have after being knocked out almost immediately on the first floor, and is subsequently fired from his group, headed by his elder brother Neeba, and featuring flame throwing babe Fatina, armoured muscleman Utu and wily scout Kally. Keen to prove himself, Jil is taken on by a new team, comprising of an Oracle named Kaaya and stoic but fierce female warrior Ahmey. They later recruit a Mage named Melt and his impossibly strong ten year-old female retainer Coopa (who fulfils the lolicon role in this story). Together they climb the Tower, occasionally meeting and fighting alongside the other parties trying their luck, which includes Neeba’s party and the army from Uruk.
The second series, The Sword of Uruk, picks up the story some six months after the events of the first. It’s a bit difficult to summarise the plot since doing so will spoil the outcome of the first series, but key to the plot are two new character: a mysterious young girl named Ki (although the Japanese cast cal her “Kai”) who holds a secret to the Tower, and a young mage named Henaro who inadvertently gets caught up in the gang’s troubles. Noticeably darker than its predecessor, this second arc takes a whimsical but occasionally bleak look at death and reincarnation whilst offering a deeper exploration into the various relationships of the characters, resulting in plenty of twists and deceits along the way.
While The Tower Of Druaga is essentially a fairly straight hero quest tale as the premise suggests, it does like to dabble quite a bit with humour, although in this reviewer’s opinion, often to its detriment. One can be forgiven from watching the opening episode in thinking this is a whacky comedy outing that doesn’t skimp on the usual topes and anime gimmickry, as we follow Jil’s rise to hero status after his lone conquest of the Tower and the defeat of Druaga with the incentive of bagging a beautiful princess as his bride at the end. Unfortunately this turns out to be pure fantasy vision of Jil’s which he experienced after being knocked unconscious one minute into the episode! Aside from a few little moments here and there, - and one episode which sees our heroes caught on a level in which various booby traps changes their appearances (and seemingly their personalities too) – the focus remains on the serious side, with the silly humour all but eliminated for the second arc.
Gonzo have done a great job with the animation on the whole but their use of CGI is somewhat ill judged when juxtaposed with the regular animation. Druaga himself is rendered in CGI and frankly doesn’t look any scarier than his regularly animated counterparts while the weaponry that appears in the climax of the second arc also unnecessarily presented in this way. The character designs try to diverge a little from the regular anime designs and are largely successful in that, although some of the uniform designs are reminiscent of those worn by the exorcists in D. Gray Man. These are minor complaints and overall the presentation is highly acceptable.
The DVD extras on offer here warrant a rare mention. On the first disc there is a special “hidden episode” which actually presents the true events of the first episode whilst Jil was unconscious – and frankly was a more effective opener as it introduced us to many of the supporting players and their motives for entering the Tower. Unfortunately it only appears in dub form so you’ll have to tolerate the irritating American voices for the duration. The entire second season contains an “uninterrupted play” feature which, in case you couldn’t guess, cuts out the openings, ending and previews and allows you to watch the four episodes in one 90 minute feature! Anyone used to the current trend of six or seven episode discs shouldn’t complain too much about each discs here only containing four episodes - by releasing both shows together, we find ourselves in a more fortunate position than our Japanese friends who had a six month gap between their original TV airings.
The Tower Of Druagais a shonen fantasy romp with enough widespread appeal to keep most anime fans entertained, whether they enjoy action, levity or deep emotional drama, all bases are covered. An argument can be made for the story to be told in one twenty-four episode arc as opposed to two separate arcs, but overall this is a satisfying enough series and likely to prove a winning release for MVM.
Extras:
English Language 5.1
Japanese Language 2.0
English Subtitles
Series 1:
Hidden Multi Angle Alternate Episode 1 (Disc 1)
Commentary on Episode 5 (Disc 2)
Series 2:
Uninterrupted Play Feature (All Discs)
Main Feature: 
Extras:
Casshern Sins Part 1
3 Discs (Distributor: Manga Entertainment) Running time: 273 minutes approx.
In a dystopian future, a lone figure awakens to find himself in a ravaged wasteland with no memories of his identity, his past or whether he is human or cyborg. Probably just as well as this apocalyptic scenario was his doing! From defending himself against attacking robots who recognise him, our amnesiac learns that his name is Casshern and the unusual bounty on his head promises eternal life to the one who devours him, since Casshern is immortal. In his quest for answers, Casshern discovers the widespread hatred towards him was a result of him killing a young woman named Luna, whose death lead to this Armageddon – know as Ruin – being unleashed.
The name Casshern may be familiar one to many, from either the original 1970’s show Neo Human Casshern, the mid 90’s OVA Robot Hunter Casshern or the 2004 live action film Casshern. If this is the case, forget everything you already know as this reboot shakes things up and turns them inside out, presenting a darker and more thoughtful take on the franchise with little recognition towards previous continuities. To that end, this will have something of a niche appeal; it will be too slow for action fans and perhaps a tad too noisy for those who prefer introspective sagas – yet the suitable balance between the two ensures a contented middle ground audience at least.
To expand a little more on the plot and themes, this barren world Casshern and adopted cyberdog Freinder – who he acquired in episode two – was once a land that saw robots and cyborgs subjugate humanity under the leadership of the Buraiking Boss – the main antagonist of the original series - until Luna’s assassination at the hands of Casshern brought about the Ruin. As a result humans are practically extinct while robots are struggling to survive. As Casshern discovers throughout his journey, there is no universal approach to death among the robots – many have resigned themselves to their fate and choose to go quietly and with dignity; some have chosen this as a challenge to achieve something in their final days; others choose a more mercenary route. Many stronger robots will pick on the weaker ones and steal their parts for repairs or at least to stave off the eventual disintegration that awaits them, while others simply fight to survive.
The show may follow the “character of the week” blueprint but it is not without recurring characters that help our nomadic immortal inch closer to the answers he seeks. They represent the differing philosophical approaches of the robots towards death, each having a differing effect on Casshern’s outlook. Some push him into action through their myopic thirst for violence; some even manage to eke out a tiny drop of hope and attempt to shine some light across their derelict and barren surroundings. Perhaps rather tellingly, those who do posses that glimmer of optimism are portrayed as either of with the fairies or just plain simple.
The first encounter Casshern has is with a young cyborg girl named Ringo, who is either adorable or annoying, as is your preference/tolerance. Ringo is wide eyed and eternally optimistic despite her bleak surroundings and travels with her elderly robot technician Ohji. She is impressed by just about everything she comes across and is the only one who continues to see Casshern in a positive light even after the revelations of his murderous past and witnessing his violent side first hand. Hot on Casshern’s trail is Lyuze, whose sister died at Casshern’s hands whilst trying to protect Luna. She is just waiting for the right moment to strike and by the end of this first set of episodes, is something of a wild card. Representing the dark side are Casshern’s doppelganger (save for the white hair and dark blue outfit) Dio who instigated the bounty against Casshern. Plotting to kill him and restore the world from Ruin. His loyal companion Leda was built at the same time as both Casshern and Dio and while subservient to Dio, appears to have an agenda of her own.
A product of the prolific studio Madhouse, Casshern Sins quite an extraordinary project withy its heavily introspective and melancholic moods and slow pace coupled with the sci-fi settings and bursts of visceral action. It is then little surprise that the production aspect is rather unique too. The artwork and backgrounds are suitably drab and spartan to create an austere and chillingly barren world for its doomed inhabitants, yet are rich with nuanced details. The character designs are likely to be the true point of contention for many, maintaining a definite 70’s flavour with their somewhat loose and unfinished style, comparable to whackier shows such as Gurren Lagann or FLCL. Yet within the context of this show any other style would not seem as congruent or as well suited and it indeed is a testament to this style that Casshern in his flawlessly white suit with the huge red “C” on his chest and mecha style helmet doesn’t look ridiculously out of place in the drab wastelands he endlessly wanders.
As mentioned earlier, this update is said to be much darker than its predecessors, but that darkness does not manifest itself in low lighting, grotesque imagery or near the knuckle material; it comes from the dark cloud of melancholy that hangs over the characters as they each search within to contend with a fate that is out of their control. And in case the philosophical bent of the show makes it sound like a garrulous affair serving to either bend the mind or render it numb with ennui, this is not the case at all. Most episodes are punctuated with at least one punch up to keep the activity level above moribund.
Casshern Sinsis likely to divide audiences as already suggested, but those with more discerning tastes who seek something with a bit more intelligence to accompany their shonen action should find this title a rewarding one.
Extras:
English Language
Japanese Language
English Subtitles
Disc 3 Only:
Textless Opening
Textless Closing
Music Featurette
Main Feature: Extras:
Gunslinger Girl – Il Teatrino Complete Series
2 Discs (Distributor: Manga Entertainment) Running time: 316 minutes approx.
In northern Italy the right wing nationalist group Padania Republic Faction (PRF) remain resolute in their quest for independence through terrorist attacks. Under the leadership of a man named Cristiano, the latest disruption is the bombing of the Strait of Messina Bridge, for which they enlist the aid of male/female terrorist bomber duo known only as Franco and Flanca. Cristiano assigns the PRF’s top assassin his foster-son Pinocchio to accompany them on their mission. Charged with the mission of stopping the PRF at all costs is Section 2 of the Social Welfare Agency, the covert Government agency that employs young female cyborg assassins as their weapons of choice.
For anyone unfamiliar with the Gunslinger Girl franchise a brief history lesson is in order. Based on Yu Aida’s manga, the plot centres around a group of ill, abandoned or abused young girls who are given a second chance at life by the Social Welfare Agency, rebuilding their bodies with cybernetic parts and erasing their memories of their past lives before training and rearing them as emotionless and obedient assassins. Each girl is given a male adult handler and the partnership is known as a “fratello” (the Latin for “brother”) who train the girls and accompany them on their missions.
This second series appeared some five years after the first and covers the final three volumes of the original manga. One doesn’t necessarily need to have any prior knowledge of the story when approaching this title as there is sufficient exposition (or a reminder for those who may have forgotten) to bring newcomers up to speed on the fundamental elements, but returning viewers will have a better understanding of the characters and their backgrounds. Newbies expecting your typical wall to wall shoot–em up, fan service heavy exploitation series should look elsewhere - Gunslinger Girl - Il Teatrino is a thoughtful and meditative show that delves deeply into the emotions and mindsets of the characters and ask all of the questions the viewer wants the answers to. Through flashbacks and side stories the main players in this saga are open to examination and are nicely fleshed out. And for those who like action and violence there is plenty of that too.
One major change made for this series was in the choice of animation studio which is evident from the first frame and will be noticed by anyone who has viewed the first series. The legendary Madhouse was responsible for series one, creating something which had its own unique look in both the artwork and character designs. Taking over the reigns for this outing was Artland who not only brought a different aesthetic but a new voice cast too. The animation is not that bad but compared to what we got from Madhouse it is a noticeable step down. The characters looks less unique and more your generic anime figures while the voice actors of the girls are too perky – Henrietta in particular possessed a more melancholic vibe in the first season. This may be an initially jarring complaint for long time fans but one soon gets used to the new animation style which improves as the show progresses. However it is the story that draws the viewer in and keeps them in place until the final credits roll.
The nominal antagonist in this arc is Pinocchio, who, much like the girls of Section 2, has been raised as an assassin by his foster father Cristiano. Unlike the girls, Pinocchio is one hundred percent human and still suffers from pangs of conscience after pulling trigger, especially when it comes to young girls as we learn through a series of flashbacks. Pinocchio and senior cyborg Triela first face off very early on with Pinocchio gaining the advantage but his aforementioned weakness prevents Pinocchio from finishing Triela off – something which will come back to haunt him as Triela is now sporting a huge chip of failure on her shoulder and vows not to let a repeat of this mishap when round two occurs. The history of the two bombers is also delved into with Flanco’s story being the most personal as her grievances with the Italian government turn her from an aspiring young student to a woman full of anger and despair.
Yet throughout all of the carnage and destructive ideals that drives these people, there is still room for sentiment and the pondering of the motives and the emotional costs of their endeavours. This is one of the strengths of the story telling and the fully rounded characters – there are no real right or wrongs. The sweet slayers of Section 2 maybe the de facto “good guys” in this tale but they are still children manipulated and programmed to kill both obediently and almost gleefully. There is no question that the sight of cute little girls cheerfully loading up a rifle is unsettling and eerie and this concept alone is enough to deter many a viewer and cause some concern – one which is frequently raised throughout the show. Reminding us the girls are still human is the relationship between the girls and their handlers. Emotional bonds are naturally formed and it is abundantly clear that for some of the girls this manifests itself as a yearning for simple familial love. The most prominent example is Henrietta, always craving praise and attention from her handler Giuseppe; even the simple gesture of holding his hand whilst out walking would suffice. The other girls may not be as blatant with their feelings as Henrietta but it is certainly palpable within them - and it needs to be pointed out that there is no underlying lasciviousness about these relationships either.
It’s fair to say that Gunslinger Girl - Il Teatrino, much like its predecessor, is an interesting albeit potentially contentious title due to its subject matter, that handles it with intelligence, thoughtfulness and maturity. Perhaps not an easy title to recommend to anyone who has not experienced the first series but for those who have, unquestionably this needs to be on your next shopping list.
Extras:
English Language 5.1
Japanese Language 2.0
English Subtitles
Disc 2 only:
Japanese Cast Interview - Marco
Original TV Commercials
Textless Opening – Tatta Hitotsu no Omoi
Textless Opening – Doll
Textless Closing – Scarborough Fair
Textless Closing – Human
Main Feature: Extras:
Naruto Shippuden Collection 5 (Episodes 53-65)
2 Discs (Distributor: Manga Entertainment) Running time: 293 minutes approx.
The previous volume of this series ended with the long awaited reunion between Naruto and estranged partner Sasuke. Unfortunately this is to be a short lived one as Orochimaru decides Sasuke should not be wasting his time with Naruto and whisks him away. Upon returning to the Hidden Leaf Village, a distraught and angry Naruto begins to suffer from recurring nightmares in which his Nine Tails power is fully released. To help cheer him up, Naruto is afforded special new training to enhance his inner chakra with a new jutsu created especially for him. However training is interrupted for a new mission – the investigation into the robbing of the graves of four ninjas who were bodyguards to the feudal Lord of the Fire Country.
In case anybody happened to be wondering that the big moment when Naruto and Sasuke meet again may have arrived too soon into the proceedings or perhaps were overjoyed to finally see the pair reunited, the rug has been pulled from under your feet as the end result was a simple tease. It looks like we’ll have to wait for what will arguably be THE big showdown within the current Naruto canon which is either a smart move or a frustrating case of bait and switch – but since the main ethos in the entertainment world is “always leave them wanting more” one can’t be too surprised at this particular development.
And so it is then that the Naruto trainkeeps a rolling with a new story arc to keep us amused until the aforementioned epic moment arrives. The new Team Kakashi, comprising of Kakashi, Naruto, Sakura and Sai – the spy sent by renegade ninja Danzo who volunteered to stay with the Leaf Village – head off to the Fire Temple but get separated along the way. Naruto happens upon one of the underground tombs targeted by the grave robbers where he encounters a young monk from the Fire Country, Sora. True to form they are suspicious of each other and a fight ensues only to be broken up by Kasahi and the monks of the Fire Country. The four antagonists waste little time in revealing themselves – leader Furido, the sexy vamp Fuka, artistic Fuen and all brawn Fudo – twisted ninjas with destructive intentions aided by the unique powers of the four corpses of the Fire Lord’s bodyguards but with an added target: Sora.
Everything is pretty much sticking to the typical Naruto formula for this latest arc: a new mission is assigned, powerful new villains hit the scene with deadly abilities, Naruto makes a new enemy who will later become a friend, battles ensue with each combatant’s magical abilities one upping the other’s, lather rinse, repeat. That said there is a layer of political intrigue added to this story based around the Feudal Lord system of Japanese history that saw bitter rivalries created from the thirst for controlling power. Newcomer Sora is also a curious character. Initially he appears to be the Naruto equivalent of the Fire Country - headstrong, distrusting, always up for a fight – although it is later revealed that the pair compare in more ways than one, which has huge ramifications for both the Fire Country and the Leaf Village.
Some levity is thrown in as Sai tries to acclimatise to life in the Leaf Village by learning how to make friends – from a book. Needless to say, his literal interpretations of his chosen texts do anything but ingratiate him to his new brethren, with Sai feeling the wrath of Sakura in one particular instance. Aside from that, this is pretty much business as usual although it warrants a mention that things move along far more quickly than the previous arc (which took three volumes to get going) and thus far has not been bogged down with six episode fight sequences or endless scenes of character standing around pontificating or doing nothing of any worth. A refreshing change to say the least.
It is a predictable way to conclude to this review but really, by now you know what you are getting with each new Naruto Shippuden release. Hardcore fans will be in their element while the jaded or the unfamiliar will find little here to convert them. Either way the orange suited ninja is here to stay.
Extras:
English Language
Japanese Language
English Subtitles
Disc 2 only:
Production Art
Trailers
Main Feature: Extras:
Master Of Martial Hearts (Episodes 1-5)
1 Disc (Distributor: Manga Entertainment) Running time: 146 minutes approx.
During a walk home from high school, Aya Iseshima and Natsume Honma witness a brutal fight taking place between two women, a shrine maiden and an air hostess. Aya interferes, knocking seven shades out of the air hostess then befriends the shrine maiden, Miko, learning that she was fighting in a female only tournament to win the Platonic Heart, a mythical jewel that can grant wishes. Miko reveals that her wish was to have friends but having been accepted by Aya and Natsume, she decides she no longer needs to fight and quits the contest. The next day Miko disappears without a trace just as Aya receives a text message telling her she has been accepted into the tournament with her first fight looming.
Sometimes a show can be summed in just one word or phrase that tells you everything you need to know about it, regardless of the plot. For this show with its revised pun-tastic title (the original Japanese title is Zettai Shougeki: Platonic Heart) the only words one needs to hear are “fan service” and that sums it up completely. Don’t be fooled by the chaste looking characters on the DVD cover or the promotional artwork, this is not the cute romance show those images suggests. No sir. And since this is a product from Studio ARMS, you should know to expect full on bare breasts and gratuitous panty shot at every convenience - heaven for all the ecchi fans out there. Don’t say you weren’t warned.
The story itself may be a flimsier than the clothes worn by our fighting femme fatales which inexplicably rip apart and evaporate for maximum flesh exposure from just one strike to the body – much like another infamous ARMS title the recently re-released Battle Vixens – but at least it is something of an attempt to give us a reason to present the (male) viewer with this parade of cosplaying battling beauties. Yes, every fetish is catered for in the line-up of improbably busty battle babes from nurse to geisha, from teacher to policewomen, from maid to car mechanic and each has a special weapon relative to their costume. Aya of course fulfils the schoolgirl role with an apparently inexhaustible supply of uniforms since she gets through up to two an episode with every step of progress made in the tournament. As the nominal heroine of the tale, Aya is the only one presented with a conscience and is reluctant to fight, least of all because she didn’t join the tournament of her own accord. Following the disappearance of Miko, Aya decides that her wish, should she win, is to see Miko one more time while her competition appear to have selfish and superficial targets to aim for. Or so it seems.
With a run of just five thirty minute episodes, story progression is rather slow outside of Aya’s advancing in the tournament. The first two instalments serve as protracted introductions to the characters and the tournament concept before things pick up with the first hint of the mysterious forces controlling the tournament in episode three which ends with a surprise revelation. Unfortunately it is all downhill from there as what follows is essentially a comedy episode for the most part – in which Aya suddenly becomes embarrassed to fight with a slightly ripped uniform despite having fought practically naked in the previous three episodes - until the closing moments leaving the final episode for one long info dump by way of an explanation. This is where the show really lets itself down. Twists are one thing as are the distorted motives of the main antagonists but none of the climactic revelations here make little sense! It would be a huge spoiler to enter into a full rant about it here, but suffice to say, one is left with the impression that the writers literally ran out of ideas - and possibly time too - and made up the script on the spot. And the abrupt cliffhanger ending suggests a second series which we know is unlikely to materialise so why bother?
Why? Because it has naked breasts and panties galore in it, that’s why. Or at least that is what ARMS is hoping will entice the viewer and as long as they deliver on the fan service, job done it would seem. And even then it becomes very boring very quickly, especially the disintegrating clothes gimmick. As a one off gag in an episode in a comedy show to incur some embarrassment for a snooty female antagonist it would have been amusing but this occurs in EVERY fight here to the point of (pardon the pun) overexposure, becoming increasingly more ridiculous each time. For instance, in one fight Aya clocks her opponent with a mean right hook to the jaw which somehow causes not just her top to rip open but her bra to fly off too! Only in Anime.
Master Of Martial Heartsis not completely beneath contempt as this review may suggest but it does little to warrant anything more than a “caveat emptor” warning for anyone who wants more from their Anime than gratuitous nudity and essentially pointless violence. Otherwise the less discerning fan or anyone too ashamed to buy genuine hentai will find some fulfilment in this unashamedly low brow release.
Extras:
English Language 2.0
Japanese Language 2.0
English Subtitles
Video Commentary with Japanese Voice Cast
Main Feature: Extras:
Eureka Seven – The Movie: Good Night, Sleep Tight, Young Lovers
1 Disc (Distributor: Manga Entertainment) Running time: 111 minutes
In the near future Earth is invaded by an alien race called the EIZO. Oddly oblivious to all of this is young Renton Thurston and his beloved girl Eureka, who suffers from an aversion to sunlight, and Renton’s pet alien blob Nirvash, which only Renton can understand. Renton and Eureka make a vow to forever stay together but are cruelly separated when the military takes Eureka away. Eight years later, the pair are reunited when Renton, now a military Mecha pilot – his craft being Nirvash in its “adult” form – retrieves a precious item from a military base under attack from the EIZO, which just happens to be Eureka. She reveals a military plan to destroy the EIZO which will also devastate the Earth in the process while Renton’s fellow crewmates on the military ship Gekko have their own reasons for bringing Eureka on board. Renton struggles to find a way to ensure a brighter future for everyone with the least amount of casualties yielded along the way.
Fans of the TV series Eureka Seven will either be pleased or dismayed to learn that the plot of this feature length outing is a re-imagining of the original tale and not a spin off or continuation. To that end no prior knowledge is required so newcomers can easily enjoy this without feeling excluded, but for established fans there is a unique cache in spotting the marked differences in the characters as they appear here along with the few cameos of some of the other faces from the TV show.
The alternate storyline presented here dictates much of the changes in personalities of the lead cast. The most immediate changes to register would be to Renton and Eureka. Here they knew each other since childhood yet they met for the first time in their teens in the TV series. Eureka herself has undergone a slight image and very minor personality change but nothing too drastic to make her unrecognisable. Renton is much the same as before although with a running time of just under two hours, he doesn’t have time to wallow in his adolescent self pity and learns to grow a set quite early on. The crew of the Gekko show behavioural and personality changes too. Before they were idealistic ex-military rebels fighting the authorities; here they are a military unit in their war against the EIZO whilst complicit in the apocalyptic plan to destroy the alien invaders as much for their own ideals based on an ancient myth and their ruined childhoods than for the good of the planet. Leader Holland is a much darker and truculent here and with good reason once the past has been of the crew is revealed although it is evident he takes this far more personally than the others do. Talho is still Holland’s partner but she is far more timid here than in her previous incarnation while the differences in the other crew members are less drastic.
Where both projects meet is with the overt philosophical musings about life, death, aging, maturity and building a better future based on lessons from the past. At the centre of the motivations for the Gekko crew is a storybook which they believe contains the answer to their problems but they need a magical female being resembling the heroine of the tome to fulfil this prophecy. And wouldn’t you know it, Eureka just happens to be that female being, forcing Renton to escape with Eureka for both their safeties. One has to wonder if the idea of a group of people trusting their fate in a storybook was a subtle comment on the mechanics of organised religion but either way this short sighted naivety does tie in with the plight of the Gekko crew based on their backstory, as hokey as it may sound. With other similarly distracting subplots boiling away beneath the main story it is easy to lose track of who is who, where they are going and why they going there since things do often take an extended detour into spiritual rhetoric land.
The TV series spanned fifty episodes which allowed for the growth of the characters, deeper exploration and development of plots and plenty of Mecha action. While the first two facets are heavily reduced in this outing, the emphasis on action is the one that sees the biggest deficit here. They remain superbly animated and frenetic as before but are few and far between with a complete absence of giddy lifting scenes – although to be fair the plot here has little room for levity. Whilst Studio Bones have successfully replicated everything aesthetic from the TV to this opus there is a disappointing and distinct lack of upgrade in the artwork and animation. Usually when a TV show is given the big screen treatment, a bigger budget is granted thus the quality of the artwork is superior. Not here sadly, instead giving us a veritable rehash of what we have seen before; this is a shame as there are plenty of opportunities for some of the stunning artwork to be rendered in the highest of qualities.
The original Eureka Seven TV series is a very popular title and the news of this film was met with mixed reactions. It has to be said there are cases for those who may have felt let down by it and for those who welcomed it as a companion piece to the series. Despite the best efforts to make it accessible for first time viewers to the franchise, some of the character cameos from the series are just a little too cute to not raise a few questioning eyebrows and the pervasive philosophical tone could appear just a little overwhelming in places.
Perhaps not the success Studio Bones were hoping for but by no means a bad film. Arguably a bona fide “Marmite” release, Eureka Seven The Movie hits more than it misses.
Extras:
English Language 5.1 Dolby
Japanese Language 5.1 Dolby
English Subtitles
“Making of” Documentary
TV Spots
Main Feature: Extras:
Vampire Knight Guilty Vol 1 (Episodes 1-4)
1 Disc (Distributor: Manga Entertainment) Running time: 96 minutes approx.
It’s business as usual at Cross Academy with Yuki Cross acting as bridge between the human Day Class and the vampire Night Class as her personal life gets more complicated by the minute. Zero Kiryuu is now temporarily free from the danger of becoming a Level E vampire after drinking the blood of rival and Pureblood vampire Kaname Kuran. It’s bad enough both men have strong affections for Yuki but Zero now has the added handicap of Kaname’s blood flowing through his veins, which excites Yuki’s confused teenage hormones. And if that wasn’t enough the poor girl is now suffering from bizarre hallucinations which cannot explain since she has difficulty recalling anything of her past from before she first met Kaname as a child. No wonder she is always so tired during class!
It may have an extended title, new opening and closing graphics and theme songs but this is a direct continuation of the first series of Vampire Knight. If you’ve not seen this show before then you’ll need to do some hefty revision first – otherwise for devoted fans this is more of the same. Another unchanged facet of this title is Manga’s release policy of single disc releases with only a few episodes on them rather than putting all thirteen episodes out in a single two disc set release. A minor complaint for hardcore fans I’m sure.
Content wise there is a much stronger focus on storyline progression in this series. Kaname continues to be the suave thorn in Zero’s side whilst acting as the genial predator towards Yuki – at one point he offers to turn her into a vampire but restrains himself at the last moment despite Yuki’s own willingness. An act of chivalry or a crafty biding of his time?
Two of the lesser featured characters are thrust into the spotlight to help move things along and freshen up the plot. Kaname’s right hand man Hanabusa gets his fifteen minutes of fame when he reflects on his first meeting with Kaname and the unusual change in his personality following the death of his parents. Meanwhile Senri Shiki is taken to meet his father who just happens to be bathing in a tub of blood and wants to borrow his son’s powers. Secrets from the past arise which suggest serious repercussions when the truth is finally revealed while deception and duplicity appears to be the order of the day as covert machinations are uncovered. But who will benefit and who will suffer?
Despite the still heavy handed and uneven application of random comedy silliness, the tone is noticeably darker in this set of episodes, largely when Yuki begins to experience her bloodsoaked hallucinations. It seems the poor girl can’t get a beak and the future looks even less rosy for her since her beloved Kaname appears to be up to something and Yuki is bound to be involved somehow.
An arguably stronger entry into the Vampire Knight canon than the last few releases Guilty gets off to a fine start, laying the foundation for a multilayered and densely plotted finale. Let’s hope the future volumes of this title reward the viewer with a suitable delivery on this promise.
Extras:
English Language
Japanese Language
English Subtitles
Main Feature: Extras:
Bleach Series 6 Part 1 (Episodes 110-120)
2 Discs (Distributor: Manga Entertainment) Running time: 260 minutes approx.
With the Bount successfully sent packing from the Soul Society, Ichigo Kurosaki and friends return to school where they are introduced to a new pupil, Shinji Hirako. That night during a confrontation with a Hollow, Shinji appears before Ichigo and reveals himself to be a Visored, Soul Reapers who have developed Hollow powers. Shinji knows that Ichigo has a Hollow side within him and tries to recruit Ichigo to his group but is turned down. Just as well as Karakura town is about to receive another batch of unwanted and deadly visitors in the form of the Arrancar, human like Hollows with their masks largely removed who possess Soul Reaper powers including the ability to wield a zanpakuto.
Fans of the Manga can rejoice as we are now back in canon although some elements of the story have been altered to establish continuity following on from the Bount arc. In what is essentially a “business as usual” adventure for our substitute Soul Reaper and his supernaturally gifted friends, Ichigo is forced to defend his home town against the onslaught of the Arrancar, headed by the ice cold Ulquiorra Schiffer who no doubt is on a collision course with our red headed hero. The Arrancar are not acting out of autonomy – they have an evil mastermind controlling them who is a familiar face to Bleach fans although they shall remain nameless for the moment. For this reason the threat of the Arrancar is considered a high one for the Soul Society and following an initial walloping at the hands of Ulquiorra and his giant companion Yammy that sees Chad and Orihime sidelined with injuries, the Soul Society sends Ichigo some top talent as back up. Enter Renji Abarai, Tōshirō Hitsugaya, Rangiku Matsumoto, Ikkaku Madarame, Yumichika Ayasegawa and of course Rukia Kuchiki - a smart idea until they show up dressed in ill fitting high school uniforms in order to blend in. For those of you who like a bit of school uniform fan service top heavy totty Matsumoto may become your favourite Bleach character after this volume!
But what of the Visoreds? This initially appeared to be the prime direction of this arc until the arrival of the Arrancar puts Shinji on the MIA list. It seems odd at this stage to begin something which unquestionable will have a significant effect on Ichigo’s future development as a Soul Reaper then subsequently ignore it after three episodes. But with Ichigo finding himself struggling with his inner Hollow during his first battle with the Arrancar, perhaps the significance of the Visoreds and their offer to Ichigo will be resumed later in the arc and become more apparent. For the moment however their sudden disappearance after their introduction is startlingly noticeable.
Another significant development concerns Quincy Uryū Ishida, who lost his powers during the Bount arc, is giving the opportunity to have his powers restored by his estranged father Ryūken Ishida, whose timely intervention spares Uryū from an attack by two Hollows. Revealing himself to also being a Quincy, Ryūken offers to help his son on one condition: he must never again associate or fight alongside Ichigo and the Soul Reapers. Speaking of fathers, Ichigo’s loopy dad Isshin Kurosaki, has a secret revealed that his son currently knows nothing about that will prove to be a right shocker!
Back under the direction of Tite Kubo’s storylines and there is already a marked improvement in quality following on from the Bount filler but there is a strong sense of “been there, done that” which for the moment is only simmering beneath the surface but is sure to finally boil over the top in future volumes. Indeed in the eleven episodes presented here, we already have a couple of showdowns that span multiple episodes, most notably one that passes the spotlight over to bald headed Soul Reaper Ikkaku Madarame, who even gets his own expository flashback episode – which appears mid battle and thus may prove to be more of a nuisance than a benefit to viewers.
Those with a keen eye will also notice the uneven quality of the artwork and animation in the early part of this set, which partly comes courtesy of the abundance of whacky comedy scenes that grow old very quickly indeed. This show is capable of some amusing comedy when it wants to but sadly the material it has to work with here is pretty weak and predictable. Even with this small complaint, it should be noted that Manga have adopted a new release policy for this title, giving us eleven episodes across two discs instead of thirteen episodes across three. A value for money move that should also ensure shorter gaps between releases.
If the previous Bount set left a bad taste in your mouth then rejoice as normal service has resumed for Bleach, even if it feels somewhat over familiar and by the numbers. That said, the potential for something quite explosive in the future is evident from this latest release from one of Anime’s most popular franchises.
Extras:
English Language 2.0
Japanese Language 2.0
English Subtitles
Textless Closing
Production Artwork
Trailers
Main Feature: Extras:
Summer Wars
1 Disc (Distributor: Manga Entertainment) Running time: 109 minutes
High school student and maths whiz Kenji Koiso is also a moderator for the online virtual reality world of OZ, a global community that has become an inescapable and vital fixture in modern society. With the summer break looming, Kenji receives the offer of a lifetime from popular babe Natsuki Shinohara who invites him to accompany her to her grandmother Sakae’s country house to celebrate her 90th birthday with her extensive family. Ignoring the possibility of an ulterior motive, Kenji readily agrees but finds it hard fitting in when he arrives due in part to the overflow of relatives staying there and their varied and huge personalities. On the first night Kenji receives a text message containing a number code which he assumes is a maths problem so he solves it. The next morning Kenji awakens to learn that OZ’s mainframe has been hacked into and corrupted and since it was done via his account, he is the prime suspect.
Mamoru Hosoda is one of the current crop of Anime directors lauded (or burdened) with the mantle of heir apparent to the throne currently occupied by the legendary Hayao Miyazaki. Summer Wars is Hosoda’s follow up to his hugely successful hit of 2006 The Girl Who Leapt Through Time, and while there is an aesthetic similarity between the two, direct comparisons are not so easy to make. The world of OZ, for example, is a surreal and idiosyncratic domain that gives its users a physical existence in the form of bespoke avatars, more akin to the Matrix than Facebook or Twitter. Subsequently the character designs eschew the “typical” Anime template while the animation is CGI-centric, allowing Hosoda to let his imagination run riot and develop a whole plethora of inventive possibilities. Yet despite this overt clash in styles everything works within the context of the story.
There are many aspects of society and communication reflected upon here. OZ represents the modern day propensity for people to submerge themselves into a fictional world of escapism and fantasy which allows them to adopt or portray a character which is the polar opposite of their natural personalities. However Hosoda is keen to point out that perhaps in this day and age of technological marvels we are perhaps becoming too reliant on machines and virtual worlds for our own good. When OZ falls foul of a corrupt artificial intelligence known as the Love Machine which infiltrates the OZ mainframe, it is not just the virtual community that suffer - all aspects of daily life are affected too. Mobile phones cannot be accessed due to accounts being blocked; Sat Navs become (even more) uncooperative; emergency services are victim to false call outs and so on. With the modern generation being almost servile to technology, widespread panic ensues. Leave it up to the indomitable spirit of granny Sakae who equates Love Machine’s attack on OZ to war, using the many contacts and acquaintances she has accumulated over the years to revert back to good old human effort and community to spirit to restore some semblance of calm and order.
Ironically then it is this same ethos that sees Kenji rally the troops to employ their network of modern technology contacts and suppliers to provide powerful opposition to Love Machine in a bid to reclaim the stolen accounts of the OZ community and restore order to both the virtual and real world. But don’t be fooled – this is not just a family friendly and more accessible take on the Ghost In The Shell world of cyber terrorism, this is a tale of family values and broken relationships within that oeuvre. The black sheep of the family is computer programmer Wabisuke Jinnouchi, the adopted grandson of Sakae and uncle to Natsuki, who returns to the fold after a ten years absence, receiving a less than warm welcome from his family outside of Natsuki. Wabisuke’s influence over the events of this story is far greater than first impressions suggests and we have a man who has many bridges to build before he can be accepted by his kin once again.
Despite the intention to make a family movie, it is fair to say that some aspects of Summer Wars are darker than its whimsical predecessor. When Love Machine rules supreme over OZ it manifests itself as a humungous and black hearted beast, demonic in appearance and its parting shot of certain destruction of the living world is not exactly delivered wrapped in a pink bow. Death too is explored here with much empathy and pathos, yet Hosoda still manages keep up a steady flow of frivolous and occasionally manic comedy moments that occasionally threaten to undermine the general sense of realism created, especially prevalent in the scenes of the huge family congregation. That said the marriage of hi-tech thrills, human emotion and random laughs is an effective one, resulting in a satisfying viewing experience, bolstered by some stunning visuals which boast some exquisite backgrounds and artwork of intricate detail and a breathtaking CGI depiction of the esoteric cyber world of OZ. A mention for Akihiko Matsumoto’s sumptuous soundtrack is also required, serving as the glue that holds this project together.
Perhaps the “next Miyazaki” plaudits are a little premature to be bestowed upon Hosoda for the moment, but Summer Wars is another sign that his name deserves to be among the front runners – although this reviewer sees no reason why he can’t be referred to a the “first Mamoru Hosoda” based on the evidence presented before us. Unquestionably a high recommendation for this title and the first bona fide hit of 2011.
Extras:
English Language 5.1
Japanese Language 5.1
English Subtitles
Interview with Director Mamoru Hosoda at Locarno
Interview with Voice Cast
Stage Greeting
Original Trailer
Teaser Trailer
TV Spots
Main Feature: 
Extras:
5 Centimetres Per Second 
1 Disc (Distributor: Manga Entertainment) Running time: 60 minutes
Takaki Tōno is a popular lad having caught the hearts of two girls at different times in his adolescent life. But is a happy ending on the cards in either situation?
This is the third outing from the master of melancholy Makoto Shinkai which once again explores the themes of how time and distance affect relationships between two people but here, the story is rooted firmly in reality, with the fantasy/sci-fi elements prevalent in the previous films, Voices Of A Distant Star and The Place Promised in Our Early Days, noticeably absent.
5 Centimetres... is split into three parts: first is Cherry Blossoms, which introduces us to our male protagonist Takaki Tōno in early 1990’s Tokyo, before the advent of mobile phones and E-mail. Takaki shares a close bond with fellow classmate Akari Shinohara since both were recent transfers to elementary school. Due to her parents’ jobs Akari is forced to move away but the pair keep in touch via letter until their relationship receives a second blow when Takaki is forced to move even further away. Takaki makes the decision to visit Akari one last time; unfortunately a drastic change in the weather threatens to jeopardise his plans. In the second part entitled Cosmonaut we fast forward to Takaki’s senior high school years in Tanegashima where watching closely in the wings is smitten classmate Kanae Sumida, a surfing enthusiast with no direction in life. She has been in love with Takaki since day one but has never managed to share her feelings with him. Despite spending plenty of time alone with Takaki, Kanae holds her silence while Takaki is unable to sense her feelings towards him, his mind fully preoccupied elsewhere. The eponymous final part brings us to 2008 where Takaki is a lonely and depressed computer programmer, Kanae is still surfing while Akari is about to get married. Will their paths cross one more time?
The title of this opus refers to the speed in which the cherry blossom petals fall from the tree, an action which serves as a metaphor for the fragility of human relationships, starting off together then gradually drifting away from one another. Here Shinkai is reflecting upon the movement of time in the life of Takaki while he himself has remained resolutely in the past. Relationships often come and go, we know this, but Takaki doesn’t appear to have got the memo and he silently pines for Akari despite Kanae ready and willing to be his girl in the second arc, while his life hits a wall in the final arc. Takaki is an interesting character in that he’s somewhat sympathetic in that the ideal happy ending would be for him and Akari to reunite and pick up where they left off, yet there is a sense of frustration surrounding his emotional residence in the past. Unlike Akari and Kanae, Takaki is the hardest character to read since his emotions are never explicitly shared with the viewer, although this is not to paint him as the bad guy here. His role is therefore essentially a pivot around which the world continues to turn. Plenty to think about here then.
The first film Shinkai has made with a team of animators, the “new Miyazaki” tag he has been labelled with (which he is quick to humbly dismiss) is seemingly justified from the onset with the meticulous details of the artwork and lush backgrounds, the bold and warm colours, the reflective atmosphere and gorgeous emotive soundtrack. Much like the Ghibli master’s works the incessant breeze blowing against the grass and flora is eerily palpable, ensuring the viewer shares the blustery onslaught of our animated protagonists. The animation itself harks back to the days of cell drawn animation (as favoured by Miyazaki) which simply adds to the charm and realism of the action. And if it isn’t cell drawn it’s a phenomenally good replication.
Don’t be put off by the one hour running time - Shinkai packs a lot into those sixty minutes embodying the old ethos of “quality over quantity”. Granted one is left wanting more when the final credits roll and some may balk at the abrupt ending but Shinkai is not a director who spoon feeds his audience. The reality based setting as opposed to the more abstract “sci-fi” approach taken with his earlier films makes this arguably the most accessible of Shinkai works and thus any ambiguities or apparent unresolved issues need less explanation. In fact, this reviewer would argue that everything presented here speaks very effectively for itself.
Shinkai’s latest project entitled Children Who Chase Lost Voices from Deep Below is due for release in Japan in May. Let’s hope that there isn’t another four year wait before it arrives on our shores, as was the case with 5 Centimetres Per Second. Established fans of Shinkai should find it worth the wait, while the Miyazaki aura surrounding this film has the potential to ensure it appeals and resonates with a wider audience. A stunning and evocative slice of Anime that reminds us why we love the genre in the first place.
Extras:
English Language
Japanese Language
English Subtitles
Interview with Director Makoto Shinkai
Interview with Voice Cast
“Making Of” Montage
Original Trailer
Main Feature: Extras:
Vampire Knight Vol 4 (Episodes 11-13)
1 Disc (Distributor: Manga Entertainment) Running time: 71 minutes approx.
Poor Yuki Cross finds herself once again facing a dilemma concerning her adopted half brother Zero, the rather touchy half vampire-half human vampire hunter who is in danger of becoming a Level E vampire. Putting Yuki on the spot this time is the latest transfer student to the Cross Academy Maria Kurenai – who is in actual fact just a body possessed by the true blood vampire Shizuka Hio, the one responsible for slaying Zero’s family and making him the troubled creature he now is. Shizuka’s offer is simple: she’ll save Zero if only Yuki gives herself over to Shizuka. Not sure what it is about Yuki’s blood but it’s very popular with the vampires of Cross Academy with no less than three major players in this show itching to feast on the young girl’s claret.
Once again however, the final volume of this shoujo gothic vampire series puts Zero in the spotlight, understandable since he is having a bad time of his own. When we left the story last time Zero had just discovered that the loyal servant of Maria Kurenai was in fact his long thought dead twin brother Ichiru. A failed vampire hunter himself, it was Ichiru’s jealousy towards his more talented sibling that drove him to an alliance with Shizuka, her vampire blood restoring him to full health yet he himself is not a vampire. Needless to say this brotherly reunion is less than civil and quickly becomes physical. Meanwhile smooth vampire Kaname is still trying to woo Yuki while settling a few scores with Shizuka of his own.
Heading into the final stretch of this show, one can be forgiven for that an awful lot of new and pivotal plot twists are arriving a little to late into the proceedings to ensure a satisfactory ending. Well fear not as this is not a last minute sprint to the finish line with the idea of ending on a tremendous bang. Instead this adaptation of Matsuri Hino’s Manga has in fact been divided into two seasons, so anyone gnashing their teeth and throwing heavy objects in the direction of the TV screen at the cliffhanger ending of episode thirteen can rest easy knowing that the story continues in the second season entitled Vampire Knight Guilty coming soon from Manga.
Back to the three instalments on offer here and the story takes on a new direction with the plethora of revelations and skeletons being dragged from the closet moving things into a much darker place than before. Yet there is still room it seems for the comedic antics of the Day Class students – this time the ball which sees the two classes come together for some social interaction – that serves only to remind us how unsuccessful this show is at striking a competent balance between the light and dark moments. Perhaps it is supposed to be a subtle device to accentuate the difference between the two worlds but the maladroit handling renders it more of a jarring experience within the context of the narrative in this writer’s opinion. This major gripe aside, there is still plenty of intrigue and tensions built up across these three episodes with some blood soaked collisions thrown in for good measure to keep things on the right track.
If the previous three volumes are already in your DVD collection then no shilling for this one is necessary while anyone still curious about this title obviously won’t gain anything for starting this late into its run. Suffice to say anticipation for the release of Vampire Knight Guilty will be high following the conclusion of this volume but let’s hope that Manga adopt a different release policy for it and drop the single volume three-episodes-per-disc format which harms the flow and enjoyment of the show as much as it does the Anime fan’s budget, and bring us the entire thirteen episodes in a two disc set. Give us all something to – excuse the pun – sink our teeth into.
Extras:
English Language
Japanese Language
English Subtitles
Main Feature: Extras:
Hetalia: Axis Powers Complete Series 2 (Episodes 27-52)
1 Disc (Distributor: Manga Entertainment) Running time: 125 minutes
The anthropomorphic countries of the world return for another trek through 20th century history, shifting closer to the period surrounding World War II, with tongues still firmly in cheeks and irreverence the main order of the day. As in the first season, there is no overriding plot arch or theme other than the various countries trying to get along with each other while ostensibly divided into two camps. Axis member Italy is still the little wimp hiding behind muscular partner Germany while over with the Allied Forces, America is the know-it-all egotist looking down its nose on crumbling former overlord England. France remains a vain, well groomed symbol of love and no-one seems to remember the existence of Canada, who even gets mistaken for the USA and gets a beating from Cuba for his troubles.
Along with the old favourites from the first season, some newcomers make their mark in these episodes, most notably Russia’s sisters Belarus and Ukraine. The latter is the obligatory top heavy totty who upsets Russia by fleeing to make friends with the European union while the former is a devious little minx trying to make Russia marry her. Yes, even when satirising world history, incest still manages to find its way into the proceedings. Chibitalia returns for a brief run towards the end of this set with little Italy finally growing up, providing a shock in store for Austria.
A lot of these characterisations may seem odd to us here in the West since they are the stereotypes as the Japanese see them and as we have learned from Anime (and other Japanese forms of art) subtlety and tact aren’t always the most prevalent qualities displayed by our Asian friends – although we Brits and the Yanks aren’t too shy about relying on such unsavoury foundations for our ideas of foreigners either. However the Japanese do recognise their own foibles, as highlighted in a couple of episodes that take a look at Japan’s modernisation in the early 20th century in an attempt to catch up with us in the West.
When watching Hetalia: Axis Powers the key thing is obviously not to expect an insightful history lesson; instead prepare yourself for a quickfire burst of satirical and zany humour based loosely on familiar events from the past and given an Anime make over. As was the issue with the first volume however, the rapidity and volume of the information presented means that one should be prepared for a screen full of text, should the original Japanese language with subtitles is your viewing choice, as the translated dialogue is occasionally joined by floods of pertinent and explanatory information. Conversely, choosing the English dub will save you half of the reading chore but the sacrifice is hearing the US voice actors doing terribly unconvincing impersonations of the various accents – as only US actors can.
And so the problem of deciding whether Hetalia: Axis Powers is a title to recommend others once again looms over this reviewer. The answer – much like describing and summarising this show – is not so straight forward. If you’ve seen the first volume and thus know what you are getting yourself into then there is plenty of fun to be found here. However, this is quite the niche title that doesn’t follow many of the more familiar Anime conventions which may result inbeing something of a turn off less discerning fan. Regardless of which side of the fence one may sit, there can be little disagreement that this show is definitely one of a kind.
Extras:
English Language 5.1 Surround
Japanese Language 2.0
English Subtitles
Audio commentaries on episodes 31, 36, 42 & 46
Director Bob Shirahata talks with the Voice Actors
Commemoration of the Announcement of the Hetalia Movie
Textless Closing
Main Feature: Extras:
The Slayers Evolution-R
2 Discs (Distributor: MVM) Running time: 307 minutes approx.
Sorceress and perennial trouble magnet Lina Inverse and her long suffering companions Gourry, Amelia and Zelgadis – joined now by mischievous stuffed toy Pokota – are in search of the Hellmaster Jar, which is said to contain the soul of the Red Priest Rezo, the only man capbale of curing the people of Taforashia of the plague that ails them. As information proves sparse on the whereabouts of the Jar, the group take whatever leads they can find, taking them on another event filled journey that once again sees the safety and future of the world in their hands.
The anagrammatically title of this latest series might mislead some into thinking this is a new adventure – it isn’t; rather it is a continuation of the one which began in Slayers Revolution (see what they did there?). The more observant among you would have noticed that each episode title of Revolution began with the letters of the alphabet in succession; thus the thirteen episodes here pick up where they left off, starting with “N”. But, old or new, this is still a prime serving of Slayers, delivering more sword and sorcery mayhem and zany laughs.
True to the tried and tested Slayers formula, the first half of this arc is heavy with standalone, comedy filled episodes with the merest reference to any congruence towards the main plot. The first new character introduced is Nama, the soul of a woman forged inside a suit of armour – a female Alphonse Elrich of Fullmetal Alchemist fame if you will. She apparently has seen the Hellmaster Jar before since her own soul is said to be contained in one; unfortunately Nama has lost her memory, forcing our heroes into a “blind leading the blind” situation. The random situations continue unabated as one episode sees Gourry named the father of two children by half fish/woman Kuppi while in another, Amelia finds herself trapped inside Nama’s armour, creating a two-in-one warrior of justice! The group’s luck finally changes for the better when they discover the Jar is in the possession of a wealthy merchant named Radock. However Radock is a target of the vicious assassin Zuuma, so Lina is hired as his bodyguard – rather convenient for Zuuma since he wants to kill Lina himself.
It is on the second disc that things pick up and the episodes focus more on the main plot and with it takes things into much darker and levity free place. Many twists and turns occur in the final six episodes that threatening to tear the bond our heroes have formed into pieces as the truths concerning Rezo seem and the powers he possesses divide opinion. And, as expected, the insouciant and secretive Xellos randomly appearing to help and hinder the group in his own inimitable way. Long time followers of the adventures of Lina Inverse will know that an explosive and spectacular finale beckons as the action reaches fever pitch and this series does not disappoint, delivering arguably the most devastating and incendiary climactic battle of the entire franchise.
And so it is that the Slayers saga comes to a fittingly loud and colourful end. There were two OVAs made – Slayers Special (aka Slayers: The Book of Spells) and Slayers Excellent – and five films although no UK releases for them are currently on the horizon but perhaps the success of these releases may help the cause. Despite her fiery and obnoxiously loud demeanour Lina Inverse has become quite an endearing character, ably supported by a well rounded group of companions which no doubt will have fans of their own (this writer is oddly partial to Amelia for the record). It is a testament to the writers that the stories for each season are largely a variation on one another yet never feel too derivative as a result. Even with the steady flow of releases we Brits have been afforded over the past eighteen months – in order to catch up with the rest of the world who first experienced Slayers back in 1995 – there was something about this show that created a sense of anticipation for the next release and less of a bombardment of a product that would quickly wear out its welcome. Long running series such as Bleach, Naruto, etc. which relies on a vast amount of filler material to keep them going may want to take a leaf out of the Slayers book and only air periodically to maintain the magic that made us fall in love with them in the first place.
Slayers Evolution-Rmarks an end of an era but be comforted by the fact that Lina Inverse and her loyal friends went out with the same loud, brash and extravagant way in which they first came into our hearts. The ending is open enough to suggest a return might be on the cards but if not, it’s been a heck of a ride and there should be no disappointment for Slayers fans with this (possibly?) final offering.
Extras:
English Language 5.1
Japanese Language Stereo
English Subtitles
Disc 2 only:
Textless Opening
Textless Closing
Trailers
Main Feature: Extras:
Fullmetal Alchemist - Brotherhood Collection 3 (Episodes 27-39)
2 Discs (Distributor: Manga Entertainment) Running time: 305 minutes
We rejoin the saga of the Elric brothers with Ed Elric still trapped inside the stomach of homunculus Gluttony along with Prince Lin Yao of Xing and Envy, another homunculus. Younger Elric brother Al convinces Gluttony to take him to meet Father, the creator of the homunculi – who looks uncannily like Hohenheim, the father of the brothers. With the captives eventually freed from Gluttony’s stomach, Father demonstrate the immensity of his powers by robbing Ed and Al of their ability to use Alchemy before setting Envy and Gluttony onto them. During this one sided melee Lin is trapped by Father and is implanted with the Philosopher’s Stone to allow the homunculus Greed to be revived within Lin’s body. Thankfully for the Elrics, help comes in the unlikely form of Scar and Xingese girl May Chung but this provides only a temporary distraction.
Quite a busy start for this third collection of episodes and it doesn’t stop there. It’s a little difficult to summarise the events and developments over this two disc set since there are so many and this would be closer to a verbatim retelling than a review. With that in mind and being careful of spoiling anything, here is a vain attempt to explain some of the more pertinent events of the remaining eleven episodes – the first chapter in this set is a part recap deal. The Elric brothers travel from the corrupt offices of Central to the frozen wastelands of Briggs in the North where they encounter the mother of all ice queens: none other than Olivier Mira Armstrong, the older sister of Major Armstrong. Excuse the pun but Olivier really is the polar opposite of her overly emotional sibling and definitely the more fearsome of the two. Meanwhile May and Scar along with Dr. Marcoh also make their way North in search of important research documents belonging to Scar’s late brother. Providing the major spanner in the works is returning renegade alchemist Kimblee who has been given carte blanche to do as he sees fit by Fuhrer Bradley aka the homunculus Wrath.
And that’s just the half of it. It’s fair to say therefore that FMA: Brotherhood fans are getting their money’s worth with these releases as far as content goes. Even the opening recap episode is done in such away that it does not feel like a short changing waste of time. By now, the message should be abundantly clear to anyone only familiar with the original 2003 Anime adaptation that the diversion from the original Manga that made up the second half of that run is a far cry from what they know of this impressive saga. Not only are different paths travelled by our main protagonists but many characters take on new personalities and follow new manifestos along the way. A brand new cast are introduced to us during the Briggs arc, lead by the suitably frosty Olivier Armstrong and her loyal soldiers who appear somewhat ignorant towards the world of Alchemy, homunculi and chimera. The story twists and turns as the political machinations that reigned in central are replaced by duplicity and a cerebral game of cat and mouse in the snowy mountains of Briggs. Any sense that this is more of the same but in a different location are erased very quickly and while action is still very much a key element of the show, it is the mental acumen of our cast that is employed to greater effect in the later episodes.
There is really little else to say. At the risk of making an ill advised joke, the show is truly heating up despite the wintry setting and shows no signs of slowing down just yet. If you’ve already been following the series – and if not, why not? - then not only are you rewarded with another superb volume that continues to delivers the goods to a high standard but anticipation for the next volume will be extremely high.
So, put this on your Anime shopping list and enjoy!
Extras:
English Language 5.1 Surround
Japanese Language 2.0
English Subtitles
DISC 1:
Episode 28 Commentary
DISC 2:
Episode 36 Commentary
Textless Opening
Textless Closing
Main Feature: Extras:
Naruto Shippuden Collection 4 (Episodes 40-52)
2 Discs (Distributor: Manga Entertainment) Running time: 306 minutes approx.
Picking up from the last volume, the group consisting of Naruto, Sakura, captain Yamato and insular newcomer Sai are in a pickle as their plan to capture the Akatsuki spy Kabuto goes horribly wrong when Orochimaru arrives and reveals the pair are in coalescence with each. A slowly (and I do mean slowly) seething Naruto demands that Orochimaru release Sasuke back to them but is refused. His anger literally at boiling point, the Nine Fox Tail Spirit begins to overwhelm our orange suited hero to the point a frightening metamorphosis occurs and all hell breaks loose.
Narutomay be the most popular Anime franchise of the past decade and thus is practically critic proof but that doesn’t make it fool proof. The above précis sounds exciting but it unfolds over THREE episodes while the ensuing battle between the terrifying fox-mutant Naruto and snake-man Orochimaru and the subsequent fall out spans a further three. If you’ve ever wanted to experience time standing still then this is the show to watch as it replicates this sensation perfectly. The battle itself is one of the more intense and thrilling skirmishes to be featured in the series thus far when it gets going but it is hampered by the constant procrastination and pointless inertia of the cast. It is worth noting however that the manifestation of Naruto when he is possessed by the fox spirit at the fourth tail stage is suitably creepy and arguably one of the more demonic character designs seen in this series.
Things pick up the pace a little in the second disc in the aftermath of the previous battle when Sai is forced to follow Orochimaru and Kabuto back to Orochimaru’s lair having revealed his true nature to them. A battle worn Naruto and Sakura and Yamato give chase and eventually rescue Sai but not before his words and actions once again cloud his true manifesto. Can the guy be trusted? Meanwhile a familiar face is about to make their long awaited reappearance – but be warned: they have changed. Much more in the way of story progression here although we get some huge info dumps and exposition along with some bulk flashbacks which threaten to slow things back down again. Central to these diversions are the history of Sai and his purpose on this mission, which provides many of the twists and turns in the plot which culminates in the big reunion in the closing episodes of this set.
If this volume has demonstrated anything it is that Naruto is a very frustrating series to watch. It is a totally acceptable shonen fantasy adventure show but the execution – predominantly the pacing – lets it down badly. Way too often scenes are drawn out with laboured scrolling shots or simply stills of the cast standing around gawping either in shock, horror or disbelief at whatever has just transpired; or the battle scenes are put on hold so the combatants can stand and stare at each other for an eternity - not, it would seem to catch their breath and formulate a new plan of attack but for the sheer hell of it. These moments do not create tension, just ennui – less “what will happen next” and more “just get on with it”!
Suffice to say the story is actually quite an intriguing one and the cliffhanger ending to this volume will demand interest in the next one so regardless of any quibbles this reviewer may have with the show, it is doing its job. If only it would do much quicker….
Extras:
English Language
Japanese Language
English Subtitles
Disc 2 only:
Production Art
Trailers
Main Feature: Extras:
Vampire Knight Vol 3 (Episodes 8-10)
1 Disc (Distributor: Manga Entertainment) Running time: 72 minutes approx.
It seems that whenever someone new arrives at Cross Academy, it spells bad news for tortured vampire hunter Zero. This time around it is the mischievous Night Class transfer student Maria Kurenai that is the root of Zero’s problems who is a lot more than she seems. And what role exactly does Kaname – who has been uncharacteristically reclusive - play in Maria’s appearance at the academy? So many questions, so little answers.
This latest volume of the popular shoujo series is plying on the layers of intrigue in preparation for the first season finale but with just three episodes on this disc there is more a sense of frustration than tension for the viewer. The focus remains largely on Zero, who has been having dreams of him as a young child being cradled by a silver haired woman named Shizuka Hio – the woman responsible for slaying Zero’s family and turning him into a vampire. And when Maria arrives her physical appearance is so shockingly similar to that of Hio the reaction of Zero’s is less than welcoming. And like before, poor Yuki Cross is caught in the middle.
Once again Yuki’s role is to serve as the conscience of the series, trapped between the two worlds of vampires and humans, while harbouring strong feelings for Kaname which run concurrent to her loyalty to Zero, a man struggling with his own vampirism, but refuses to drink Yuki’s blood. For most part of the three episodes here Yuki is caught up in some jarring comic subplots, the prominent one being the upcoming Ball at the Academy where both the Night and Day students get to socialise together. But with the exams coming up, the lowest ranked class will be relegated to backstage duties and not be able to participate in the ball itself. Thanks to Yuki’s Discipline Committee duties, her grades are woeful and threaten to see her class come last, so she is under orders to shape up and score high on her exams. Not an easy task when she is sent on vampire hunting missions whilst also trying to prevent a civil war between her two favourite men.
Despite the meagre chapter count and ostensible throwaway first episode on this disc there is plenty of forward motion in the plot department. However it all feels a bit rushed with a huge but welcome info dump in the second and third episodes to flesh out Zero’s back story and the saga of Shizuka Hio and the subsequent revelations made way too soon after, all crammed into two twenty minutes instalments. If the frivolous comedy side stories were dropped then this could all have been built up nicely across the series thus far and the revelations would have more impact. Instead they feel telegraphed and ill thought out and not so surprising at all.
Manga’s release policy for Vampire Knight certainly hurts the flow and the enjoyment of the show but one release a month is better than every two months. That said even with this burst of last minute swerves and developments this show still doesn’t hit the heights it aspires too. Maybe the final volume will see an improvement and provide us with a rewarding conclusion, but for this reviewer hopes aren’t that high.
Extras:
English Language
Japanese Language
English Subtitles
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Blade Of The Immortal Vol 3 (Episodes 10-13)
1 Disc (Distributor: MVM) Running time: 97 minutes approx.
With vengeance still on her young mind, a chance encounter with a young boy at a festival leads Rin to the house of Araya Kawakami, the man who raped and killed her mother two years earlier. So Rin goes, unarmed, to have a chat with the man who is the inspiration for her vengeful mindset – as you do. Hopefully Samurai Manji - aka “The Hundred Man Slayer” - is nearby in case this impromptu tête-à-tête should turn a little violent. Which it naturally will.
A rather chat heavy and action light set episodes make up this final volume of this chanbara series, taking on a more philosophical tone as Rin is effectively talked out of her quest for revenge that saw her join forces with immortal ronin Manji. Our young heroine is unaware that the ill-mannered and feisty boy she saves from a beating from a samurai is the son of her target for retribution but since she wins over the young camp with this act of kindness, Rin finds herself at odds with her goal, since killing Kawakami would make the young boy and orphan and thus Rin would be no better than Kawakami was two years earlier. Even having renounced his position with the Ittō-ryū gang, Kawakmai is one leopard who is unable to change his spots. Good thing his son was sent out to buy some buns. There are some things even a cold-blooded killer wouldn’t want his children to see.
The second half of this volume sees Rin still wandering if she is cut out for fighting since the confrontation with Kawakami has left her confused and conscience ridden. Another chance encounter, this time with Ittō-ryū leader Anotsu, serves as a wake–up call for Rin as she comes up exceptionally short in their brief physical exchange, which Anotsu fails to take seriously. Meanwhile the rival Mugai-ryū gang decide to finally make their move against Anotsu.
Yes, it all sounds rather exciting but the above plotline is spread across four episodes and seems to drag lethargically rather than bound along with fervour and excitement. Considering this is the concluding instalment of Blade Of The Immortal, one would expect the tension level to blow the thermostat in lieu of a blood soaked finale. Sadly – and this may be deemed a spoiler – we get the opposite. In fact, we don’t even get an ending at all. The age old problem of the Anime adaptation out running the Manga source material once again rears its ugly head, and while just thirteen episodes were allotted for this show in 2008, the Manga continues to this day. So the producers didn’t even bother to draft their own ending like so many do they just left everything up in the air. To be fair it is not so open ended that one can’t use their imagination and divine their own conclusion with the incidents leading up to the closing credits of the final episode, but this is show that demands a definite denouement and frankly, we are robbed.
If we are being honest with ourselves, however, any show that features a lead protagonist that cannot be killed until he has slaughtered one thousand evil doers, is hardly going to have a sufficient enough ending within the confines of thirteen episodes anyway; and since the show was not a huge success in Japan on both TV and in DVD sales, a second series looks very unlikely. Thus, if ever an Anime served as an advert for its source Manga then this show is most definitely it.
Blade Of The Immortalsuffered from the beginning with its overambitious concept that ensured little drama since the male lead was invincible and the feisty female lead was ostensibly a mere conduit to remind of that fact. Whilst it featured some interesting characters and proffered some thought provoking philosophical theses on topics ranging from vengeance to the merits of prostitution, the set ups always felt unconvincing and under developed. Despite the impressive artwork, it has to be said there is little one desperately needs to see here unless you really need a quick chanbara fix.
Extras:
English Language 2.0
Japanese Language 2.0
English Subtitles
Interview with Director Koichi Mashimo
Interview with Screen Writer Hiroyuki Kawasaki
Trailers
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Bamboo Blade Collection 2 (Episodes 14-26)
2 Discs (Distributor: Manga Entertainment) Running time: 316 minutes approx.
Having finally convinced AWOL member Sayako Kuwahara to return to the fold, the Muroe High School Kendo team now has enough members to compete in official interschool contests. Much like before all hopes rest on the tiny shoulders of Tamaki Kawazoe, whose unparalleled abilities, intensity and unblemished record continues to inspire and frighten in equal measures. True to form of competitive sports, when there is a shining star in a contest there is always someone ready to snuff them out by any means necessary. Meanwhile the actions of two erstwhile members of the kendo club put not only its future in grave danger but that of coach Toraji “Kojiro” Ishida.
Volume two of this sporting comedy drama follows on from the first, continuing the journey of the disparate members of the once moribund high school kendo team, with the focus again largely on the little dynamo Tamaki, although the other cast members get their (albeit brief) turn in the spotlight. Senior club member Kirino Chiba’s sudden unexplained absence from training causes concern when she remains unreachable until it is discovered her mother has been taken seriously ill and she is running the family shop and home in her mother’s absence. With a tournament only days away the timing couldn’t be any worse for both the club and Kirino. Ever wondered what it is that split personality babe Miya-Miya sees in diminutive oddball Danjūrō? The answer is revealed here (and it’s not quite as you might expect) and in the process a personal feud is born when ex-pat and fellow Kendo enthusiast Carrie Nishikawa takes an unhealthy interest in the human acorn Danjūrō.
Even with these temporary diversions Bamboo Blade is still the Tamaki show and it is her growth as a person that is charted most heavily in these thirteen episodes. First she has to contend with the underhanded tactics of the Tozyo High School kendo club at the preliminary tournament to prevent Tamaki from competing against their star fighter, which results in an injury for our meek heroine. Away from the kendo battlegrounds, Tamaki’s otaku interests pay dividends as a visit to a live fairground performance of her favourite TV show Brave Bladers not only sees Tamaki make a new friend in fellow otaku Rin Suzuki but also lands a small part in the Brave Bladers movie. However into every life a drop of rain must fall, and wouldn’t you know it – Rin is also a kendo student and the two new friends face off against each other in the next tournament, the outcome of which has a profound and shattering effect on one of the combatants.
It should become apparent very early on in this volume that the twenty six episode count for this show feels a rather over ambitious undertaking due to the almost frivolous nature of the non-kendo related episodes. A drop in animation quality in the first few episodes on the disc one and the reliance on silly comedy and the resulting usual visual shortcuts pretty much verifies this. Granted, it would have been a slog to watch an entire season of back to back fights and training sessions but much of the extraneous material fails to match the focus and interest of the on topic episodes. Even when the supporting characters such as Miya Miya has their turn in the sun, the plot threads feels rushed and anti-climactic. The sub plot that sees the kendo club being threatened with suspension due to the delinquent actions of two older members who abandoned the club yet never fully resigned comes out of nowhere and while it is resolved, had the two students in question been featured more heavily in the show, this development would have had more impact. Perhaps then an argument could be made that with a bit of tightening in the script department and this could have been a superb thirteen episode series and not a bloated twenty six episode one?
Where this show succeeds, however, is featuring a combat sport that one would automatically assume would have an all male cast and putting the females at the forefront – although since Anime protagonists are 98% female that is probably not too much of a surprise. This makes the cast that bit more likeable and the story of their growth more pleasurable to watch. Then there is the kendo lesson the non-enthusiast gets from the show – from now on when a hear a woman scream “Men” you’ll think she is screaming the kendo term for “head”.
Ultimately Bamboo Blade offers some nice surprises as much as it follows the Anime conventions to the letter. There is nothing to vehemently dislike in this show nor is there anything too remarkable to make it stand out as a worthy recommendation. It’s a fun little show so enjoy it for what it is but don’t expect anything groundbreaking.
Extras:
English Language 5.1
Japanese Language 2.0
English Subtitles
Textless Opening – Bamboo Beat
Textless Closing – Star Rise
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