I’m back with a more “typical” aniblogger post this time. I’ll have more updates about what I’ve been watching, reading, and listening to in the near future. For this post, I wanted to reach out to you with a question:
What anime from 2023 did YOU think were worth watching?
I caught a couple odd series each season (like finishing Netflix’s CG Ultraman and Attack on Titan: The Final Chapters) but my simulcast slate was mostly clean for the year. This was largely due to preparing for my graduate exam in the spring, studying abroad in the summer, and starting a new job in the fall. Hopefully you’ll agree that it would’ve been a bit tricky for anyone to keep up with what’s current given all I went through in 2023!
I DO come prepared, however, with a small list of titles that I saved throughout the year in my back pocket. So, here’s everything I’d like to watch from 2023!
Winter 2023
Nier: Automata Ver1.1a – I love the game, firstly, and the anime is a pleasant way to revisit this world of machines and ruin. I found the first couple episodes quite enjoyable, so I’m mainly coming back to see how the adaptation turned out. I heard there’s more coming, which makes me excited that A-1 Pictures is committed to adapting the “full” story.
Buddy Daddies – No thoughts on this one other than the premise is cute.
Trigun Stampede – I still need to watch the OG Trigun, but I love the character re-designs!
Tsurune – The Linking Shot – I’ll revisit the first season before watching this sequel. From what I remember, I found the pacing of Tsurune sleepy and the characters somewhat unremarkable. Maybe a rewatch will change that.
Gridman Universe – I’m ALWAYS down for Gridman, and it’s crazy that this is the end! ;_;
Spring 2023
Demon Slayer: Swordsmith Village Arc – I’ve continue to stick with this series because I enjoy seeing the work Ufotable puts out. The previous season was tons of fun, and I’m hoping that this third season carries that energy forward.
Oshi No Ko – This was a much-discussed title! If I have time, I’ll scope it out and see what the hype was about. Cute character designs, too.
Heavenly Delusion – Production I.G is another studio I’m fond of, especially when it comes to their sci-fi catalog. The manga for this mystery/survival series intrigued me awhile back, so if I like the anime, I’ll consider picking up the volumes. Really stoked to watch it!
Ranking of Kings – The Treasure Chest of Courage – Yay, more adventures of Bojji and Kage!
Ooku – The Inner Chambers – This one rides in the same train as Heavenly Delusion does for me. I even own the first volume of the manga. (Don’t ask why I haven’t read it.) Hope the anime turned out well!
Sailor Moon: Cosmos – At last, we’ll see how the new Sailor Moon adaptation ends! I’m a little concerned that Netflix hasn’t licensed it for streaming yet, though. My expectations for the production are somewhat low, so I’m just hoping these final films are able to stir an emotional reaction from a longtime SM fan.
Summer 2023
Jujutsu Kaisen Season 2 – I started the first season on a whim like a year ago, and I got surprisingly addicted to its rhythm of action and comedy. Of course, this has been the only series people have talked about since 😛 so I’ll get around to the sequel eventually.
Fate/strange Fake – Whispers of Dawn – Is this just the first episode? If so, I’ll wait until the full series is released before starting. Looks great, though!
Maboroshi – The latest film from director Mari Okada JUST came out on Netflix the other day! Always happy to see what she’s working on.
Fall 2023
Frieren – Beyond Journey’s End – This was on a lot of friends’ “best of year” lists, and the online response seems to range from “like it” to “LOVE IT.” Can’t wait to put names to all these faces!
SPY X FAMILY Season 2 – This reminds me, I still need to finish the last few episodes of season one! Oh dear, where does the time go!
The Apothecary Diaries – If you followed Frieren and friends this past fall, then you also probably watched this little series. I recall being initially grabbed by the anime’s gorgeous teaser visuals and videos. Now that it’s out, I’m hoping that the characters are as charming as the animation I saw.
PLUTO – Another short series dropped on Netflix, I’m a complete stranger to the works of Naoki Urasawa. I anticipate this will serve as my gateway drug.
Considering the sheer volume of anime that is produced each season, this is a fairly small, manageable list. I handpick everything so carefully because I’m still working through my physical to-be-watched stack. (We’re making steady progress!) Still, hidden gems slip through the cracks, so be sure to let me know what you liked from all the anime released in 2023. Thanks for reading, and ’til next time!
A brief, spoiler-free review of the 2020 documentary film, “BLACKPINK: Light Up The Sky,” produced by Netflix, and directed by Caroline Suh.
The story of the #1 charting K-pop girl group finally gets told, and the whole world is watching.
Hey guys!
BLACKPINK IS IN OUR AREA for today’s video!! We’re gonna talk about YG Entertainment and Netflix’s latest K-pop documentary film, “BLACKPINK: Light Up The Sky,” which was just released on Wednesday, October 14th! No spoilers, so feel free to watch before or after viewing! (Also, there’s lots of fan rambling in this one, just thought I’d let you know 😉)
I LOVE THESE GIRLS WITH ALL MY HEART, and I hope these sentiments reach you as well! As much as I wanted to write out a review for this one, it just felt more natural to film a video instead. So, here it is, and I sincerely appreciate all those supporting my YT channel.
“When you’re working in a group, everyone has their place and a role. And when everyone settles into their roles, that’s how synergy is born. That realization changed my outlook. When everyone is where they need to be, big things can happen.”
Jisoo
I’ve actually known BLACKPINK longer than I have BTS, so this film was extra special for me to watch. While it needn’t be said, this is a certified “Cafe Mocha” film here at the cafe, and one that you should totally check out if you’re a fellow BLINK, OR if you’re wanting to get into BLACKPINK and the K-pop scene and maybe don’t know where to start. Trust me, you’ve found a great place. To those who have seen it, you’ll definitely have to let me know what your favorite part of the film was in the comments!! 🖤💖
I’ll try to come back soon with a formal update explaining what’s going on with the blog, and where we should go from here. But for now, enjoy the video, and I’ll see you soon. ‘Till next time~!
A brief spoiler-free review of the 12-episode 2020 anime “Ghost in the Shell: SAC_2045,” produced by Netflix, animated by Production I.G and Sola Digital Arts, directed by Shinji Aramaki and Kenji Kamiyama, and loosely based on the manga by Shirow Masamune.
A New Threat Emerges
The Synchronized Global Default changed everything about societies all over the globe. Now, in 2045, the economic disaster continues to impact the human race as the world enters a state of “Sustainable War” via AI technology just to keep money in the pockets of policy makers. But, as the Stand Alone Complex world continues to prove, people really do not possess any idea of the capabilities of these AI—as well as the potential threats to their own privacy and safety—while living in this rapidly accelerating cyberization age.
As a result of the economic fallout, Public Security Section 9 was kicked off government payroll and reduced to hired mercenary jobs out in the hot American southwest. Given the opportunities to engage their enhanced cyberbrains and combat skills, it’s not the worst outcome for full-body cyborg Major Motoko Kusanagi and her partner-in-crime Batou. However, the emergence of extremely potent AIs with remarkable intelligence and physical might, dubbed “post humans,” just might be the global threat Section 9 Chief Aramaki needs to pull the old team back together again.
Off-the-grid sci-fi action and cyber crime dominate the scene as the classic Ghost in the Shell: SAC story returns with this latest installment. Don’t count your Tachikomas before they hatch, though, as this is far from the sequel longtime fans have been waiting for. Overrun with loud action stunts and a hardly tactical approach to most combat, 2045 may be the weakest entry thus far—and the switch to all 3D CG doesn’t give much to boast about. But, this is still a Ghost in the Shell story, mind you, and any GitS is worth watching if you love this universe like I do.
The Old Gang Reunited
With a new Ghost in the Shell comes a new look for the Major. Although she doesn’t carry the same maternal air as the original SAC‘s Major, I do really like the pretty and iridescent quality that this Motoko bears. It’s as if the short bob and rebellious spirit of Arise‘s Major met the violet, cool-toned and commanding authority of SAC‘s. While Batou largely retains the same figure, including his signature prosthetic eyes, Togusa’s new look suits him quite well. I wasn’t particularly happy about hearing that his marriage fell apart in the time since SAC 2nd Gig (honestly the biggest crime here), but at least the shortened mullet makes him feel like a fresh man.
Perhaps my favorite single part of Netflix’s crack at GitS doesn’t even pertain to character designs, plot points, or the music—it’s the dub cast. Somehow, Bang Zoom was able to track down the all-star cast of the original SAC dub, including the incredible Mary Elizabeth McGlynn as BOTH the dub’s director and the Major herself. Add in Richard Epcar’s rough-around-the-edges Batou, Crispin Freeman’s rich yet naive Togusa, William Knight’s authoritative yet flighty old man Aramaki, and Melissa Fahn’s iconically squirrelish Tachikoma voice and, ahh, it’s a wonderful nostalgia trip. Mary Elizabeth’s Major really does embody the soul of this franchise. It was only after hearing the old Section 9 again that I was reminded just how much I’ve missed this world.
So, as you can tell, I wasn’t one to hate on the new character designs. The characters themselves aren’t necessarily here to be dynamic so much as to be badass cyber soldiers and carry out the plot (except maybe Togusa), and to each their own on that. But, if there’s one major gripe I have about the characters, it’s the facial expressions, which is a perfect segue to the show’s biggest controversy: the animation.
A Bold Switch of Style
As you may have heard fans gripe, directors Aramaki and Kamiyama decided to have all of 2045 animated in 3D CG. In addition to story focus and heightened emphasis on explosive action, this changed visual style makes 2045 feel even more removed from SAC‘s old roots. At what point do we stop calling it a sequel? I don’t even know where to begin on this one except for with the negatives.
For one, the lip flaps hardly match the voice acting—this is consistent across the English and Japanese dubs. Lots of dialogue may be spoken, but the mouth hardly moves. Now, 2045 can sometimes get away with this since A) half the characters are cyborgs, and B) much of the dialogue is communicated via connection to the Net, thus no need for spoken words. But even the most human characters suffer from a general lack of expressive facial emotions.
My second big gripe is that everything is CG. From vehicles and landscapes to special effects and the hair on a person’s head, it’s all been animated using digital technology. This means that, when something is textured, it’s generally done well and with consistency. On the other hand, when there’s no texture work, it’s entirely flat to the eyes. The production feels cheap as a result, sometimes gross, even if I know that it’s actually decent quality CG work being done here.
That said, I do, in fact, like the way this series looks (shocker, I know). Sure, I would’ve liked a more traditional approach with 3D CG modeling being used for a minority of the production rather than the only technique, but this isn’t all bad. Japan’s towering skyscrapers and clean, futuristic architecture have never looked better in SAC than they do here. The Tachikomas shine brilliantly, and the action sequences are also entertaining and very well choreographed (even if they’re ultimately no more than added popcorn material). Chances are most people will dislike the CG, though, especially if they came in with expectations of the franchise.
At Least it Sounds Great
Between writers and actors, it would seem that everyone came back to work on this universe again—everyone except for SAC series music composer Yoko Kanno. Thankfully, Nobuko Toda and Kazuma Jinnouchi carry the mantle of SAC with strong compositions in 2045. Between the jazzy interludes, lo-fi downtime, and high-octane cyber beats, I almost could’ve sworn it was still Kanno behind the keyboard. Toda and Jinnouchi also worked together on composing the score for Netflix’s recent Ultraman series, which may explain why 2045 also feels a little retro-punk at times.
As with the dynamic visual special effects work, the audio effects also fill in the sounds of this technologically advanced world. Whether the soft hum of a self-driving car on the highway, the relentless fire of Gatling guns, the blinking and honking of city sounds, or the digitization of bodies floating around in the Net, the sound design maintains a high standard across the series.
Waiting for the End
From the occasionally nauseous CG animation alone, it’s easy to think that this is a poorly directed series. 2045 is also not as philosophically explorative as its predecessors; rather, it seems to look smart by skimming the surface without postulating the further impacts and implications of people living by and through the Net. As opposed to genuine curiosities or worries about our future with technology, 2045 favors absurd thriller tones to engage its audience. I wish it were deeper and more full of wisdom like the previous seasons were, but 2045 is not that story. Maybe it’s not that great . . .
BUT, I don’t want to lose hope because I did enjoy my watch. Heck, binging 2045 on Netflix in a SINGLE SITTING was loads of fun—questionable CG and all—and I only wish I could’ve listened to more of the Major and her team exchanging witty banter back and forth. For me, clearly, the dub alone made 2045 worth watching.
As it stands, this is only half the story, so I can’t completely say whether or not 2045 is worth passing on. With the second cour green-lit but yet to be announced, I await the end of this new story with cautious optimism. When that day comes, I definitely plan on joining the Major once again. If Ghost in the Shell is your thing, you may want to consider putting 2045 on hold until the entire series is out. Otherwise, strap in—this ride is already proving to be a bumpy one.
You think I like this? There are too many unknown variables. It doesn’t smell right. But, then again, we always enjoy coming along with you for the ride—it’s the only reason we’re all here. — Batou
Afterword
If that last quote from Batou doesn’t encapsulate my feelings on Ghost in the Shell: SAC_2045, I’m not sure what does. Until the second half can solidify my opinions on this series, I’ll pass 2045 as a “Coffee” rating for now. It’s mediocre at most points, but when it’s good, you may just remember why you fell in love with this series to begin with. Have you watched Netflix’s Ghost in the Shell yet? If so, what are your thoughts? Given how optimistically I tend to view this franchise, I’m eager to hear about them. Otherwise, ’till next time!
Can you believe another three months have passed since the last time we met for an update? Why, that was the beginning of April, and now we’re already a week into July. JULY. Crazy, right? I hope all my friends in the U.S. had a happy 4th of July full of friends, family, and good food. To everyone else, I hope you’re summer hasn’t been too hot!
In other news, I’ve been watching and reading a decent amount—which is great considering that one of my 2019 goals was to watching all of the stuff I’ve bought (yet haven’t touched) to justify buying it in the first place. Unfortunately, as soon as I finish one movie, three new ones somehow appear on my shelf. Weird. It’s not me, I swear!
Ok, so maybe the sales have been good to me lately, but I am enjoying getting around to all this stuff. These novels, manga volumes, and Blu-rays were bought for a reason, after all! Without further ado, let’s see how much stuff I’ve been able to knock off my To-Watch backlog! First though, some goal updates . . .
Goal Reflection
#1 – Read More Posts
I’m sorry everyone. My phone’s home screen is once again becoming filled with your posts so that I can read them . . . but they just continue to amass, as opposed to being read and shared. WordPress has made mobile blogging a pain in the ass, in that I cannot comment and like without being logged in—and yet even when I try to log in, it still won’t let me respond to you all! Instead, my phone wants me to use the app and WP reader to communicate with other bloggers, and that’s a real nuisance given that I get most of my reads from Twitter posts AKA posts shared online, not via app. I’ll work hard to clean up my home screen in the meantime, even if it means individually typing out every single post in the search bar and finding it that way.
#2 – Write More Succinct Reviews
I think I’ll be changing this goal to “Write More Succinct Posts (in general),” as it has happened for the most part with all my other posts besides my reviews. And I’m ok with that. Personally, I don’t see 1,300 – 1,600 words as that much for a full-series review. Otherwise, I’ve posted a couple posts that were just like 300 words, and y’all don’t even know how good that felt for someone as wordy as myself! Even if just simple announcement posts, I like to think I’m improving on this goal.
#3 – Post More Often
I’ve continued this next set of three months by successfully managing to publish about one thing a week, which was my goal! In April there were four posts, while in May and June there were FIVE posts per month. Again, it sounds like a really sad goal, just five posts out of 30 days, but this is a huge step for me. I’m proud of the work I’ve done so far, and hope I can keep up at least this much content, if not more, as the summer goes on!
A side note, last year I wrote 27 posts. Yup, that’s it, and that’s not much. As of July 6th, 2019, I’ve already written 30 posts, so I’ll easily double the amount of posts I wrote last year if I continue down this track!
#4 – Bring Back Cafe Talk
Nope, lol. BUUUUT, I did create an entirely new segment on my blog in its place. Called “Anime Revisited,” the posts in this category are just that—shows that I’ve already reviewed, but would like to look at once more under a new light or fresh perspective or whatever. Basically, I rewatched Gurren Lagann and wanted to talk about it again. But “oh no, I’ve already reviewed that series.” No problem, just revisit it! And so I did, and it was received quite warmly by you all, thank you very much.
#5 – Write More Haul/Collection Posts
Yeah, this one has gone no where, and here’s why: I’m really considering an Instagram for all my haul, collection, and cosplay related musings. Like, really thinking about it. Like, it could happen tomorrow, or even today. I’ve still been getting tons of crap, but I’m not sure if I want to junk up my blog with pictures of the stuff I’ve bought as opposed to talking about or analyzing that stuff like an intellectual would. If Insta happens, you all will be the first to know!
What I’ve Watched
Aside from the last couple simuldubbed episodes of Kono Oto Tomare!: Sounds of Life, I’ve finished all the spring shows I’ve been following, including Sarazanmai, Attack on Titan Season 3 Part 2, and Wise Man’s Grandchild. Really tempted on going back for the music drama Carole & Tuesday and Mix, a little baseball series that silently aired this spring. Plus, I haven’t started the new Fruits Basket yet. (I know, I SUCK!) Reviews for the spring content will be rolling out here soon, fingers crossed.
As for Blu-ray watching, I watched Lu Over the Wall, Liz and the Blue Bird, and Mary and the Witch’s Flower, three adorable films that I was supposed to review but haven’t yet (spoiler alert, watch them). I also finished Asobi Asobase, a great comedy series which contains some of the STUpidest shit I’ve ever seen, as well as the second half of Re:ZERO. Definitely not as good as the first half, but still epic (and nail-biting, heh heh).
In the past month, I finally watched Blood Blockade Battlefront, which I’m pretty sure I didn’t like as much as everyone else, yet liked it enough to apparently impulse buy the second season the minute RightStuf’s 32nd Anniversary sale started (my dumb ass, right?). Apparently it’s a fantastic sequel though, so I’ve got high hopes.
Speaking of another questionable move, I watched Majestic Princeand, well, won’t get the time back from watching that LOL. I also rewatched Izetta: The Last Witch, but that one was actually pretty fun to visit again.
One of my favorite watches these past three months was The Great Passage, the dictionary anime that aired in 2016 that everyone (myself included) slept on. After hearing it was by the same person who wrote Run With the Wind, I hustled on down to Amazon, gave it a watched, and fell in love. Review coming soon!
Oh, and I finished Sailor Moon SuperS and the movie Black Dream Hole, too! Although I won’t review anything Sailor Moon (as the nostalgia lens are very foggy with this one), you can bet I loved it. Excited for Sailor Stars!
Another incredible watch was Kizumonogatari Part 1: Tekketsu-hen, the first in a masterpiece trilogy by studio Shaft. It was a pain to spend $50 on a 60 min film through eBay, but it beats the $70 that Aniplex is asking for. At least the set is drop-dead gorgeous. (Which I could show off if I, you know, had an Insta.)
As for what I’m currently doing, I’ve been rewatching Neon Genesis Evangelion since the new dub hit Netflix. The dub is serviceable. Not as near as personable and heartfelt as ADV’s dub, but it works if you’re new to the series or can’t afford the old DVDs. Regardless, I’m still having tons of fun rediscovering why I fell in love with it in the first place. I also started God Eater . . . not much else to say on it. It’s pretty for a monster-slasher series, and I’m sure I’ll have more thoughts once I finish it!
Despair Returns: A Danganronpa Playthrough
I know how all the Danganronpa games go. Same for the anime, and even the novels. I’m a huge fan, a mega fan. An Ultimate Fan, if you will. Since I’d never actually played the games myself and let the LPs and walkthroughs entertain me, however, I thought I’d change that. Oh, and challenge my siblings at the same time!
So now, every chapter, every trial, we switch of players. We finished the first game early June, and are about to finish the second game. The Danganronpa games are tons of fun, so despite knowing how things play out, I’m not sick of it yet. Totally hyped to play V3 all over again, especially since it’ll be their first time with Danganronpa‘s thrilling finale!
My New Job Has Kept Me Away
That’s the simple truth of it all. As you can see, there’s a lot I’ve been watching, but now that I work 30 hours a week (and a 5-hour part time thing), I’m pretty exhausted when I get home. What do I do? I left my old job in food to reunite with my passion: the water. I’m a lifeguard at my university, but also a swim lesson instructor. I love my co-workers (a first!), and oddly enough working with kids is refreshing. I feel more physically and mentally fit than I have in probably a whole year, and even though this job is time-consuming, I thank it for flushing out all the icky in my life. I feel good, great even.
I go to bed at 10:30 each night now, not 2 a.m. I’m home with my family on weekends, and don’t feel bad for going in to work since I now leave for work at the same time everyone else does. It’s win-win, plus I get to swim on the job!
So, I don’t want to push my luck. I could be at the keyboard more often, but it’d cost my anime-watching time, my time with my siblings, and I don’t want to trim those anymore than I already have. I should be writing a little bit more this month, though, so we’ll see if that improves things on this end.
What’s new?The job.Where are we headed in the meantime?Easy: Writing posts for all the anime and manga in my collection that I’ve been watching and reading!
That’s about all I got for now. The 95-degree days are killer, but working at an indoor pool softens the blow immensely. Now, if only the rainy season would last longer, I’d be truly happy, hahaha! It’s crazy to think that the next time I write an update like this it’ll be October. Till then, thank you so much for reading, and take care of yourself!
The legendary Neon Genesis Evangelionand it’s films, Death & Rebirthand The End of Evangelion, have officially arrived on Netflix! Long-awaited by fans of the series and greatly anticipated by curious newcomers alike, now everyone around the world can enjoy streaming this groundbreaking title with ease.
Along with the relaunch of this classic came a new English dub. To old fans of the ADV dub like myself, this’ll be quite the adjustment to make. But hey, this also means we get to celebrate Eva‘s arrival with something new and exciting for everyone!
I’ll always have a place in my heart (and on my shelf) for Tiffany Grant’s feisty Asuka, Allison Keith Shipp’s smokey Misato, and Spike Spencer’s troubled yet innocent Shinji—but that’s why I own the old DVDs, so that I can enjoy both the old and the new whenever I want to.
In case you missed it, here’s our new cast:
ADR DIRECTOR | Carrie Keranen
SHINJI IKARI | Casey Mongillo
REI AYANAMI | Ryan Bartley
ASUKA LANGLEY SORYUU | Stephanie McKeon
MISATO KATSURAGI | Carrie Keranen
GENDO IKARI | Ray Chase
KOUZOU FUYUTSUKI | JP Karliak
RITSUKO AKAGI | Erica Lindbeck
RYOJI KAJI | Greg Chun
TOUJI SUZUHARA | Johnny Yong Bosch
KENSUKE AIDA | Benjamin Diskin
KAWORU NAGISA | Clifford Chapin
ADDITIONAL VOICES | Julie Bersani, Christine Marie Cabanos, Daniel MK Cohen, Billy Kametz, Zach Aguilar
I’ve already heard several mixed opinions about the new dub, including entire script changes and even omitted tracks (how dare you remove “Fly Me To The Moon”). But I still have hope for the new cast, and am anticipating my own little watch party later this evening. And hey, if you like what you hear, be sure to give all the actors a hearty “Congratulations!” over on Twitter—I can only imagine the immense stress and honor behind voicing in such a renowned series!
Love it or hate it, Eva is here for a new generation. So rather than pass it off, please, enjoy the happiness, sadness, and emotional highs and lows of this classic. And watch all of it, too—as it was originally intended! To skip any episode is to miss out on an entire chapter in the wild lives of these incredible characters struggling—both against the wrath of the heavens and themselves—just to live another day.
Share the gospel with all your friends, and feel free to laugh, cry, be excited, and especially confused by the sheer depth, complexity, and outreach of this tale of what it truly means to love yourself. It’s a very special series that holds a lot of weight for so many people, and alas, now people everywhere can experience it.
Evangelion is officially on Netflix, and all’s right with the world.
A brief spoiler-free review of the 10-episode winter 2018 anime “Devilman: Crybaby,” produced by studio Science SARU (and Netflix), directed by Masaaki Yuasa, written by Ichiro Okouchi, and based on the manga by Go Nagai.
A Wild Night Out
Akira Fudo is a crybaby. He’s always been, and he always will be. Akira’s high school career takes a trip to the wild side when his best friend from many years ago, Ryou Asuka, suddenly reenters Akira’s life. This surprise reunion excites Akira, but unfortunately, Ryou isn’t back so the two can play on the playground again. Instead, he informs Akira that hiding amongst the shadows of their picture-perfect reality are monstrous demons, and that soon the demons will revive to reclaim the world from the humans. To combat their brute, supernatural strength, Ryou has a plan: to fuse a human with a demon.
Those who conquer their “literal” innermost demons can master the power over them. And thus, after violently loosing his innocence at an infamous nightclub rave suspiciously titled the “Sabbath,” Akira becomes Devilman, a being with the power of a demon and the heart of a human. Finally seeing the darkness that humans have hid for so long, Akira feels blessed to now be able to save others, but more so cursed because he will likely never be understood ever again. But he has Ryou, and for Akira, that’s enough to make the pain worth suffering. Or so he hopes.
A Tragedy Fit for Our Time
By mere story alone, Crybaby is a masterpiece. Having heard the crazy amounts of praise that have been circulating already for a couple weeks now, this should be no surprise. It starts at zero, at everyday life for a young boy and his relay mates, and quickly escalates into a bloody, traumatic, world-ending experience for both the characters and the viewers. As a standalone piece of fiction, it’s a modern tragedy made fit for the decade—complete with its OWN FREAKIN’ CHORUS in the form of some swaggy J-rappers—a series that is andshould be celebrated for the, might I say, “daredevil” tale it sets out to tell. So many countless symbolic, societal, and sexual metaphors make the story incredibly compelling, and the religious undertones work wonders in creating this gritty, larger-than-life epic.
And the best part of all is that the series isn’t just “depressing” to be called tragic—rather, it lives up to the classical standards of Greek tragedy by existing to A) prove the faults in our own lives, B) present a heroic attempt at handling them, and C) leave us with a cathartic end to cleanse the insanity that just befell the cast. It’s a masterful formula from the humble beginning through to its apocalyptic end, and as the media outlet Polygonstates, the finale is “beautiful, devastating perfection.”
The only [minor] problem with a story of this magnitude is that Crybaby has very little time to tell it: only ten episodes, to be exact. While the pacing for the first several episodes feels spot-on, there is a significant push, particularly in the last two episodes, that does seem rather hectic. To be fair, however, the gruesome content and big reveals in episodes nine and ten ARE time sensitive; dragging these plot twists and dramatic developments out beyond an episode’s time would ruin their effects. Besides, perhaps that rushed sense of mayhem is what contributes to the explosive, catastrophic nature of the Devilman franchise.
Akira and Ryou: Cuter When They’re Young
As far as characters are concerned, I won’t go into much detail simply because half of the thrill stems from witnessing just who some of these characters really are, and exactly what they will eventually become as the plot edges further and further on borderline insanity. Akira Fudo’s deal with the devil surprises all those around him, sure, but his grotesque change conjures up more mental conflict than physical ailment. He’s honestly a gift to mankind who doesn’t belong in this cruel, cruel world, and as he teeters on the edge of his own humanity—of a dying hope vs. an unflagging despair—he realizes that, at the darkest roots of their heart, people can be even more vile, disgusting, and sinful than any demon to roam the planet. Compared to his cute, scrawny self at the series’s beginning, the superior antihero Devilman that Akira becomes is stronger in nearly every way—all except for that tender, still-broken human heart of his.
Ryou’s fluffy, blonde-bowled, bishounen design may seem inviting, but don’t let that charismatic baby face fool you: underneath that puffy white coat is a deadly machine gun and cunning wit, both which are fully loaded at all times. From that first smooth car ride Ryou and Akira share together, you already get the feeling that Ryou is scheming something (as if the glaring camcorder he films on 24/7 wasn’t evidence enough). Still, he is doomed to a fate just as tragic as Akira’s—if not more so. Ryou is one baaaaaad boi, but I loved his development way too much to hate him.
I Don’t Know How to Rate The Animation . . .
I’m not kidding. Devilman: Crybaby has some of the downright UGLIEST animated sequences I’ve ever seen. From the hilarious attempt at depicting just how “speedy” devilmen can run to the blobby, disproportionate, and completely uncensored sex scenes, by visual standards, Crybaby is not a pretty-looking show.
But does an anime need to be “pretty” to have it’s own beauty? Absolutely not. Or, well, at least Crybaby says so.
You see, the series has this certain edge to it, a certain grit that is hard to explain. The animation outlines, for instance, are cleanly drawn and look quite fresh (faces in particular). But then you have the action scenes, which are just SO freakin’ bizarre to watch. Like, I couldn’t even tell you if some scenes were, in fact, “poorly animated” because the ENTIRE SERIES has that same exact look. The lack of detail in light-hearted moments (like Akira’s high school, or his quiet past) compared to the almost sickening actions of other demons and humans alike gave form to a style that I can’t quite put my finger on. It’s as if the animation is “untamed,” or “knows no bounds”—yet it all flows well as its own style within the context of the story. Not to mention that the compact 10-episode run and smart directing allow for each and every shot to carry some sort of secondary meaning, however unnecessarily violent or sexual or BOTH the risqué presentation seems to people.
I, for one, felt that all of the overly grotesque scenes brutally tread some sacred ground of entertainment that hasn’t been touched in decades with a bloody tank. It’s a unique visual style that I frankly haven’t seen anywhere else, and it was depicted brilliantly.
But I Know I Loved the OST!
As I am currently writing this, the Devilman: Crybaby soundtrack is humming in the background for inspiration. What about it is so special? Well, it has great balance; it’s epic (“D.V.M.N.” – Main theme), startling (“Miki The Witch”), playful (“Wishy Washy”), intense (“Anxiety”), entrancing (“Beautiful Silene”), heart-pounding (“Smells Blood”), uplifting (“Prayer”), cathartic (“Pathetique”), and so much more. Composer Kensuke Ushio (Ping Pong The Animation, Space Dandy, A Silent Voice) knows how to write excellent orchestral/synth pieces, I tell ya!
There’s a little tune that is repeated throughout the entire soundtrack that can be any of the emotions listed above, so long is the right instrumentals is paired with the mood. My personal favorite IS a reprise of this gorgeous melody line, and it just so happens to be the very last song played in the series, the End of Devilman: Crybaby, so-to-speak. It’s appropriately titled “Crybaby,” and if it doesn’t move your heart to the point of tears, forcing you to recall Akira, Ryou, Miki, and Miko’s shared heartache and tragedy, then I’m not sure what will.
Oh yeah, there’s also a remake of the original Devilman opening included with the soundtrack, which, if you SOMEHOW haven’t heard yet, is SUCH A BOP HOLY SHIT. I STILL listen to it religiously.
The Destructive Darkness Within Us All
By Devilman:Crybaby‘s end, there is arguably no sadness left for the characters, no more tears to cry. It should feel complicated, as the amount of despair is simply undefinable. But instead, all you can wonder is how things got to this point, and how what you witnessed was, in fact, the end brought upon by humanity. The ending is completely unfair, yet it balances the scales with terrifying perfection. You could feel sad, or depressed, or enraged at how BLIND people can be, but instead, all of it feels pointless, as if nihilism just inducted you to suddenly became one of its patron saints.
The ending of Devilman: Crybaby is indeed a very empty one. And that very catharsis, that feeling of emptiness and pointlessness, is what lies at the heart of a well-written tragedy.
As happy and sad memories alike resurface for these two boys, Akira and Ryou come to realize that, without one another, life before friendship was boring and often cruel. It was lonely, and it was meaningless. But through the ugly tears they cry, the bleeding hearts they endure, and the tragic fates that they cease fighting against, the two learn to finally accept love, for it is really love, not hate, which makes the world go round. And so to tear up the ENTIRE world just to tell this seemingly small message—Yes, such is what completes the horrifically tragic Devilman: Crybaby as a modern masterpiece.
Devilman: Crybaby is raw, brutal, yet oddly honest about its understanding of cause and effect and the power of compassion. It doesn’t forget to throw in a few laughs, though. As the community has already remarked, this show is ABSOLUTELY NOT for the faint of heart. This series showcases the worst aspects of humanity—of vengeance, overindulgence, paranoia, and immorality—and for many, that can be hard to watch (plus, it’s like, mega gory and sexual). You’ll be asking yourself “WTF is this even real?” many times, and you’ll feel absolutely disgusted with humanity. But have faith that there is a reason for the madness. I walked into this action series not knowing a lick about the Devilman franchise (aside from the old dub clips, heh heh) and obviously enjoyed the HELL out of it.
If such disturbing material doesn’t bother you, then I’m sure you’ll also enjoy this wild ride through the bloody and the occult, as there are a fair amount of life lessons to be learned. I’m giving Devilman: Crybaby the honorary “Caffe Mocha” title because of its unexpectedly high emotional impact (you gotta love the indirect End of Eva references, too)! There’s a particular scene in I think episode 8 or 9 that absolutely wrecked me, and the powerful ending . . . wow . . . I’m sure I won’t be forgetting about that for a long time. If you are thinking about watching this anime, or have already seen it, you HAVE to let me know what you thought about it! I’m dying to dig the series back up, even though much of the hype has died down, haha! Let me know if I did a decent job by hitting the like button (I appreciate it!), and until next time, this has been
Takuto's Anime Cafe 