I ran a site called I Hate Bee Train for a bunch of months last year, but haven’t posted on it since November out of laziness. It’s a site wherein I episodically blog Bee Train shows for the purpose of insulting them, because Bee Train is the worst studio ever. As part of my effort to migrate all content here, I’ve imported its posts to this blog under the eponymous category. I won’t be closing the original site because it’s still awesome, but I will post all of its content here.
Moving along: Arc the Lad. I’ve been aware of this show via ADV previews for an eternity, and was interested in the games before, but never got to play them.
Arc the Lad was Bee Train’s second production (after PoPoLoCrois Monogatari), made when the studio did nothing but video game adaptations. (Wild Arms: Twilight Venom and Medabots soon followed). These shows differ greatly from what has come to be the Bee Train norm.
One huge difference is that Wild Arms and Arc the Lad were directed by Kawasaki Itsuro (who did a little work on Noir and then presumably left the studio), as opposed to studio head/chief director Mashimo Kouichi. More noticeably, Arc the Lad doesn’t feature a Kajiura Yuki soundtrack, but one by Oshima Michiru (who hadn’t made music for the game that the anime was based on, but would work on the soundtracks for later games in the series.)
I don’t know if Shinichiro Watanabe actually choreographed the fight scenes in Cowboy Bebop and Samurai Champloo, but both shows featured spectacular combat sequences often showcasing strange and eccentric fighting styles. Clearly, Apllon isn’t a story heavy on fighting, nor would it make any sense for the characters to show of eclectic maneuvers.
Were this another show, I’d probably be complaining about the fight scene. Why waste high-grade animation on a fight wherein you can’t tell what the fuck is going on? I might assume that since it’s a non-fight-centric show, maybe they didn’t care that much about how the fights looked.
But of course they did. Watanabe always cares how things look, and I don’t care if this is a manga adaption, he’s going to leave his mark on it. The fight is meant to disorient. Not only does it not establish a horizon line—it seems to purposefully avoid one, cutting to random parts of the fight, showing people anonymously getting thrown around, all set to insane jazz music.
That’s the fight Kaoru witnessed. He didn’t know what the hell was going on—he just saw the magnificent beast that is Sentarou going nuts on a bunch of dudes and had about a million questions running through his head along the lines of “what the fuck just happened?”
Alright, ep 2 is done dling now.
Fate/Zero’s hour-long debut episode was streamed live on nico nico douga in eight languages (you can still watch it anytime this week, but I won’t blame you for waiting to get higher-quality video), and it was every bit as phenomenal as I knew it was going to be. It was also utterly fucking terrifying.
Since Nekogami Yaoyorozu is the only show that I had expectations for this season and met those (moderately high) expectations, I’m very excited about it. I came for a fake Touhou anime, and that’s what I got—lazy immortal gods grappling with poverty, awesome character designs, yuri hijinks, and a very “yukkuri shiteite ne” vibe of comedy—but also well thought-out classifications and fighting systems for the occasional lighthearted battle. This is exactly how I imagine a Touhou anime would be.
As a database animal with an eye for details, Sacred Seven is playing hard in my court and letting me believe that it’ll continue doing so. Ghostlightning, a “mecha database animal,” feels the same way, and wrote a post highlighting the show’s appeals to his database instinct. Amazingly, while his coverage was quite extensive, his mental database is different enough from mine—and the show makes enough appeals to both of ours—that I feel I have the material for a companion post.
This post will mostly consist of screenshots. I won’t be covering the ridiculously great sakuga animation because there’s not much to say that you can’t get from watching the ep.
Ghostlightning described Hanasaku Iroha to me as “hipster artfag porn,” but also said it was very good and that he enjoyed it.
His description was spot-on. The first half of the episode was so hipster porn that it felt like it was trying too hard, though that might’ve been on purpose to set up for the beatdown Ohana would receive to her hipster pride. The first names to flash through my head with regards to the writing were “Matsuo Kou” and “Diablo Cody“. The episode’s first half reminded me of the small bit of Jennifer’s Body that I watched, which was so overloaded with cheeky “smart” dialog that I felt like I was in the break room at art school all over again and couldn’t take it anymore.
Thankfully, that wasn’t the true nature of the show, and with Ohana’s new company being a load of hard-asses, there won’t be anyone to play off of her witty hipster dialog anymore.
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I love zombies. I got into them when they became a craze, and I’ve adored them since. This is hideously ironic, because I’ve seen very few of the proper zombie flicks, always having been afraid of them; I don’t do well with horror (although these days I can pretty much handle anything, so maybe its time I viewed the classics.) I love zombies in spite of this, because they’re an excuse for mass wanton violence, and as I detailed in my last post, there’s nothing I love more than violence.