This is my first impression of episodes 1-7 of SSSS. Gridman
Guys, the masterminds at Trigger are at it once again, breathing life into the mech genre and “saving anime”, because that’s still a thing people talk about. Not only is it full of bitchin’ mech fights, but it’s also got a potentially interesting story beneath the veneer of a monster of the week show.
Now I know what you’re gonna say: “Matthew, isn’t this the exact same fucking thing you said about Darling in the Franxx?” Well, yes, kinda, but trust me they’re gonna get it right this time. Today’s show, SSSS. Gridman could very well be the next Evangel–
-Whoa, whoa, whoa, it it’s only gonna be 12 episodes? Oh, fuck…
The “best” anime of all time is different for everyone. Across all media, in fact, you would be hard pressed to find a unanimously agreed upon “best” thing, outside of the agreements found within one’s own tight-knit group. Even then, there will be differences in taste.
“It’s all subjective,” is the point I’m trying to get across, but perfection doesn’t have to be dismissed in critique just because it’s improbable. If the perfect anime is different for everyone, and no consensus can be reached, then perfection is purely personal taste. It is absent of objective standards of quality and instead panders to the greatest amount of our interests.
I believe most people have not found their perfect movie or TV show, possibly because it doesn’t exist yet. We all have favorites though, so it stands to reason that if I took three of my favorite anime of all time and picked them apart, I could get a sense for what my perfect anime would be. Bear with me, this is going somewhere.
One of the earliest scenes in Liz and the Blue Bird depicted the protagonist, Mizore, waiting for someone at the school gate. One girl comes through the school gate, but Mizore is met with disappointment as it is not who she is waiting for. And then, the music swells from a scarce pluck of the string to a delightful melody, as the tapping of one girl’s steps is heard along the pavement.
But it’s not just any girl. It’s THE girl. Like a wind coming from the distance, Mizore and the audience know that someone important is coming before they even see her face. It’s as if hearing the quickening heartbeat of a shy young girl faced with her crush, translated into song.
It was reported back in August that Production I.G. would be going forward with two new seasons of the acclaimed sci-fi series, Ghost in the Shell. Not only that, directors Kenji Kamiyama, previously responsible for the amazing Ghost in the Shell: Stand Alone Complex, and Shinji Aramaki (Appleseed) would be directing one season each.
With this comes excitement but also caution. Ghost in the Shell is one of my favorite series and in my view, the best sci-fi franchises of all time. However, it would be an understatement to say I.G. hasn’t made some missteps recently. This year alone, we got B: The Beginning, a show I enjoyed, but that was terribly marketed and is already obscure. Who could forget the FLCL sequels, the first of which was god awful and the second of which I haven’t finished but have heard was decent.
Having directors like these on the projects gives me hope, no doubt, but I can’t help but worry that this will just be a lifeless cash-in like FLCL Progressive. Especially after Arise, the latest animated entry that was met with mixed reception, and a poorly received live-action film (Oh look, I wrote about that). GITS needs to get back to its roots and this new series might just be the chance for that, but this new story needs to be built on a strong foundation. Continue reading →
To the surprise of no one in this community, Anime is getting big. The movies, the exciting new projects, the growing fandom here in the states and the new players tackling this previously niche market are all very exciting. With this change though comes cynicism, as typical when the cool little clubhouse fandoms start as expand to cover more broad demographics and become something larger.
Subject to this vitriol recently has been Crunchyroll. The former illegal fansub site turned big streaming service has been growing for years, becoming one of the biggest names in Anime here in America. One that is lending a hand to the industry itself. Such growth is impressive and depending on who you talk to, really positive. Talk to the others though, and there is a different story.
Recent controversy mixed with my friends’ opinions regarding the service has given me pause to think critically about this company. Its quality as a streaming platform, it’s relationship with the Anime industry, and it’s own “agenda” (god I hate that word) are all up for discussion. So, as strange as it sounds, here is a review of Crunchyroll. Continue reading →
At the risk of understating this film’s message, showbusiness sucks. Satoshi Kon’s 1998 thriller by Studio Madhouse, Perfect Blue, was a must-see for me during its re-release in theaters last month. I had always heard about the film and seen glimpses of its iconic moments, but without the full picture, I was still in for a lot of surprises.
Kon’s films have stretched close to the same critical acclaim here in the west from adults as Miyazaki and Ghibli have achieved with… well, everyone. The late and great creator’s films have also inspired many auteurs to take inspiration. Such as the late Mamoru Oshii’s Ghost in the Shell inspired the Matrix, Perfect Blue inspired Darren Aronofsky’s Black Swan from 2010. So it is especially criminal that I had not previously seen any film by the late Mr. Kon before this one. And this was quite the start. Continue reading →
How do you follow up a classic? Better question, how do you follow up a classic that concluded so perfectly as to deter any attempt at a continuation? You can try to advance the narrative beyond the conclusion but the result may be so different as to not attract the same audience or so similar it gets called derivative. For instance, Studio Sunrise’s Cowboy Bebop has received no shortage of praise, but what about the film from 2001?
Cowboy Bebop: Knocking on Heaven’s Door, was not a continuation of Bebop. It featured the same characters doing what they do best for two hours, but never feeling like a cheap cash in, but rather just… Bebop. A lesser studio may not have pulled it off, but this was no ordinary studio. As it turns out, it wasn’t even Studio Sunrise, but Studio Bones. Only fitting as its three founders were former members of Sunrise. So, how was the follow up to one of the most legendary anime when given the Bones treatment? Continue reading →
There is something indicative of Megalo Box’s lasting impact on me when it took so long to get around to writing this review. I could understandably blame it all on my own shotty schedule prior to committing to my current release schedule, but maybe the writer’s block that occurred every time I tried to put my thoughts into words spells something more interesting.
It makes me wonder if the show was truly the classic in the making that I praised it for being. However, to imply that Megalo Box was not a good show through and through would be a gross misinterpretation. I may not praise it as a classic, but I’ll be damned if I call it anything but a good time. Continue reading →
Wow, it’s been a whole year since I did one of these? Not sure why I haven’t done these more since they’re a great buffer in between longer editorials for this blog… Well, whatever, while I work on reviews for Cowboy Bebop: The Movie and Megalo Box, I figured I would give you another (long-overdue) a glimpse into what is currently consuming my free time.
It’s not a long list, as I’m not one who can consume too many new shows in a given season and is even less capable of finishing those in my backlog. Regardless, hope you will all sound off in the comments about your thoughts about the shows on this list when all is said and done. Now let’s get on with it. Continue reading →
The most shocking twist RWBY has delivered is that volume four was actually good. It only took a lesser product to make me appreciate what I had. When volume five started airing, my excitement was dwindling. Over one divisive volume, I went from optimist to pessimist and was only giving this volume the grace period as a hope that the problems could be solved.
Rewatching volume five with a more balanced critique may have allowed me the same clarity that I went into my review of volume four with. Sadly, even the clairvoyance of one willing to forgive couldn’t excuse what volume five did wrong. Even amongst those who may have enjoyed this season, I can’t imagine that this is perceived as anything other than the worst of the series.