TEST BED FOR UPCOMING CHANGES
Koufuku Graffiti Shirobako Rolling☆Girls The iDOLM@STER Cinderella Girls Shigatsu wa Kimi no Uso Saenai Heroine no Sodatekata Death Parade Junketsu no Maria
Impressions
Thoughts and projections based off the opening four episodes of premieres. Wrap-up to follow for designated entries.
Death Parade Capitalizing on a strong Billiards debut, Decim and company are back to exploit the aspirations of the unfortunate. Leading the charge is a fresh slate of games geared to extract the very essence of contestants, as well as a behind-the-scenes look into Queen Decim’s primary functions. Although the arbiters’ histories and ulterior motives remain ambiguous, much also remains to be discovered in other facets of the distinct premise. The emotional warfare on showcase is both believable and exhilarating, whereas the stoic Decim is out to prove his case as a respectable comedian. Projected score: 6 Koufuku Graffiti Shaft has returned to cause mischief in its latest adaptation, one bearing great resemblance to the established Hidamari Sketch series. The girls are captivating in mannerisms, each armed with magazines of aesthetic rounds to nail down variable beverages, entrees, and desserts. The discharge does not come without recoil though, as director Shinbou’s trademarks occasionally dampen the experience in disorienting fashion. Emphasis could be better spent on world building and character complexion, rather than unloading on extravagant food highlights and their means for consumption. Nonetheless, Koufuku Graffiti is a delightful project hitting with both heart and a hearty menu. Projected score: 5 Rolling☆Girls Vivid colors and personalities collaborate to craft one of the more unique and candid works in recent seasons. The adrenaline rush is pure joy, going back to basics with a fun story and uplifting characters. Balance is kept in check, with neither crushing melodrama nor farfetched comedy dominating the spectacle. There is much to be had in kicking back and allowing the girls to roll along in their motorcycles and also with punches thrown their way. I am definitely on board with this bullet train of fuel-injected, heart-packed misadventures featuring the very “best of the Rest.” Projected score: 6
Despite the colorfully frantic clash between modern interests and historic traditions, I cannot say this series is one for the ages. What Rolling☆Girls should have aimed for is the development of the four main personalities around surreal motorcycling and adventure themes. Instead, the net result consisted of too many characters competing for pieces of the pie, and no one coming away with an adequate slice. The story surrounding Chiaya and her imminent departure was bittersweet, although the act as a whole was blindsiding and detrimental to the narrative’s garnered momentum. By momentum, I am referring to the mystique of the Heart Stones lying within their origins and functional purpose. Early on, each passing episode had much to savor with the four ladies traversing variable regions to collect Stones, while vainly attempting to harness their invigorating energy. Sadly, all of the intrigue went discarded for a disappointing, paper-thin twist central to Chiaya and her parents coming from elsewhere in space. When the spectacle was at its best, bold colors and animation schemes paired with outlandish scenarios of people literally getting blown away amidst the chaos. Rumble strips decorated town roads and manpower managed to defeat mechanical power in epic fashion. Rivalries were alive and well as communities worked out differences and put misunderstandings to rest. I have to wonder though how Chiaya and her mother allowed all of these promising storylines and aspects to be so wastefully expired.
Saenai Heroine no Sodatekata
The framework here screams of predetermined substance, although is still much to be ascertained in the plot’s realization. Heroine highlights four aces of an archetype-specific deck: the passionate consumer Tomoya, the seductive writer Utaha, the polarizing artist Eriri Spencer, and the endearing heroine Megumi. Each commands a few tricks to their disposal, though I am hoping the female bunch can offset Tomoya’s suffocating one-dimensional complexion and domineering two-dimensional obsession. Such blatant disregard for surroundings is highly disconcerting, and his act may very well lead this effort to retirement in a sea of typical harem comedies.
Projected score: 5
Comedy and Harem, as a pairing, amount to what I call a “zero sum twosome.” However, I found this series to be relatively pleasant despite the aforementioned rules of guidance. The most memorable sequences all involved Tomoya screaming in glorious agony. Honestly, it will be hard to forget his priceless reaction toward Eriri and Utaha glaring at him from outside the café. I am curious as to how Megumi would have fared in a dedicated romance narrative. Multifaceted like a Swiss Army knife, it was unfortunate her blades were destined to become dull by a male oblivious to beauty. The act did present some nice and subtle jabs though, excelling with Eriri being singled out as the “secondary” childhood friend. I never did stop to consider about those presented with the reality of encountering someone more “childhood friendly” than themselves. I do appreciate what the opposite sex has to offer, but I was looking more for well-placed comical brilliance. The exhibit on display was too suggestive and too repetitive to draw my attention undivided. Reason and restraint were nowhere in the vicinity, most notably in not one, but two curveball scenes teasing all-out intercourse. I will give this series its due in the animation department though. Backgrounds and foregrounds were consistent and harmonious, fueled by an apparent need to maintain quality in the fanservice realm. The soundtrack also helped lighten the terribly dense atmosphere while keeping misunderstandings from spiraling out of control.
Shigatsu wa Kimi no Uso
On paper, Shigatsu wa Kimi no Uso had all the makings of the next musical classic. Unfortunately, the narrative never sustained real momentum, its flow constantly interrupted by exasperating monologues and untimely attempts at humor. While the finale did manage to salvage the roller coaster with style and grace, I could not help but remain discontent in the means. I was always at bay with Kousei because of the needless portrayal of his afflictions over, and over, and over again. Furthermore, I never found reason to invest myself in the audience’s secondary thoughts and aspirations when the spotlight clearly should have been concentrated on the performers during those stretches. On the other hand, Kaori was a fresh breeze of air, ripe with talent and life experience far beyond the average middle-school student. Though her story was tragic, her presence made the rough patches along the journey worthwhile. In a musical and production sense, the effort was sensational. It was a rush of bliss listening to symphonic clashes between the violin and piano. Starry skies joined forces with bridges and train tracks to create some of the most surreal moments in the medium, backed by inspiring vocals and uplifting melodies. This was quite the surprise, as I expected most, if not all the trump cards to be unveiled on stage. Not to mention, it was also nice to learn about the title’s significance. What a lie it was, for better and for worse!
Shirobako
The iDOLM@STER Cinderella Girls
I admired the original TV run for allowing each idol a full episode to assume the spotlight. The employed episodic format spawned a plethora of intriguing personalities, paying off in distance as 765 Production took to grander stages. From what has aired so far in Cinderella Girls, I am disappointed to learn the staff strayed away from this established formula. It is still a relatively charming effort with much fun and entertainment to be had, but I feel that the void in focus and character complexion will ultimately kill off this fairy tale’s appeal.
Projected score: 4
In comparison to its predecessor, the first half of Cinderella Girls was shortchanged in character presence and musical impact. The agenda was linear and lacking in material to further the idols’ runs at Cinderella glory. The original excelled by dedicating ample time for character development, showing where each member came from and what they were all about. In Cinderella Girls however, the basic archetypes and predictable personalities were a far cry from rivaling that same level of commitment. Not to mention, the unpolished lines and simplistic color schemes added dead weight to an already heavy load. Characterization, conflict, and consequence were all oversimplified and short-lived. There was just one episode that depicted the 346 Producer with a human edge. Outside of that episode, his stoic disposition was dry and uneven: rigid as cardboard and woefully mismatched to a managing role. It was tough to get any read on his emotions such as joy, sadness, and frustration (to name a few). I am positive the ramifications for Mio’s actions would have marked the end to her Cinderella aspirations in the real world. I also cannot imagine Anzu, despite her adorable antics, thriving with such a lackluster ethic in what is a demanding field. That said, the group of misfits brought forth great chemistry, setting aside personal grudges and differences to win game shows, seize the big stages, and pave their own roads across the vast city. Although this was far from a Cinderella story, I did find serenity in how the idols meshed together. I cannot submit a vote of full confidence, but I am still looking forward to a strong second half of new surprises and considerations.
Updated 00, May 2015
Standings
Food, family, and friends.
Koufuku Graffiti Shirobako Rolling☆Girls The iDOLM@STER Cinderella Girls Shigatsu wa Kimi no Uso Saenai Heroine no Sodatekata Death Parade Junketsu no Maria
Death Parade Capitalizing on a strong Billiards debut, Decim and company are back to exploit the aspirations of the unfortunate. Leading the charge is a fresh slate of games geared to extract the very essence of contestants, as well as a behind-the-scenes look into Queen Decim’s primary functions. Although the arbiters’ histories and ulterior motives remain ambiguous, much also remains to be discovered in other facets of the distinct premise. The emotional warfare on showcase is both believable and exhilarating, whereas the stoic Decim is out to prove his case as a respectable comedian. Projected score: 6 Koufuku Graffiti Shaft has returned to cause mischief in its latest adaptation, one bearing great resemblance to the established Hidamari Sketch series. The girls are captivating in mannerisms, each armed with magazines of aesthetic rounds to nail down variable beverages, entrees, and desserts. The discharge does not come without recoil though, as director Shinbou’s trademarks occasionally dampen the experience in disorienting fashion. Emphasis could be better spent on world building and character complexion, rather than unloading on extravagant food highlights and their means for consumption. Nonetheless, Koufuku Graffiti is a delightful project hitting with both heart and a hearty menu. Projected score: 5 Rolling☆Girls Vivid colors and personalities collaborate to craft one of the more unique and candid works in recent seasons. The adrenaline rush is pure joy, going back to basics with a fun story and uplifting characters. Balance is kept in check, with neither crushing melodrama nor farfetched comedy dominating the spectacle. There is much to be had in kicking back and allowing the girls to roll along in their motorcycles and also with punches thrown their way. I am definitely on board with this bullet train of fuel-injected, heart-packed misadventures featuring the very “best of the Rest.” Projected score: 6
Despite the colorfully frantic clash between modern interests and historic traditions, I cannot say this series is one for the ages. What Rolling☆Girls should have aimed for is the development of the four main personalities around surreal motorcycling and adventure themes. Instead, the net result consisted of too many characters competing for pieces of the pie, and no one coming away with an adequate slice. The story surrounding Chiaya and her imminent departure was bittersweet, although the act as a whole was blindsiding and detrimental to the narrative’s garnered momentum. By momentum, I am referring to the mystique of the Heart Stones lying within their origins and functional purpose. Early on, each passing episode had much to savor with the four ladies traversing variable regions to collect Stones, while vainly attempting to harness their invigorating energy. Sadly, all of the intrigue went discarded for a disappointing, paper-thin twist central to Chiaya and her parents coming from elsewhere in space. When the spectacle was at its best, bold colors and animation schemes paired with outlandish scenarios of people literally getting blown away amidst the chaos. Rumble strips decorated town roads and manpower managed to defeat mechanical power in epic fashion. Rivalries were alive and well as communities worked out differences and put misunderstandings to rest. I have to wonder though how Chiaya and her mother allowed all of these promising storylines and aspects to be so wastefully expired.
Comedy and Harem, as a pairing, amount to what I call a “zero sum twosome.” However, I found this series to be relatively pleasant despite the aforementioned rules of guidance. The most memorable sequences all involved Tomoya screaming in glorious agony. Honestly, it will be hard to forget his priceless reaction toward Eriri and Utaha glaring at him from outside the café. I am curious as to how Megumi would have fared in a dedicated romance narrative. Multifaceted like a Swiss Army knife, it was unfortunate her blades were destined to become dull by a male oblivious to beauty. The act did present some nice and subtle jabs though, excelling with Eriri being singled out as the “secondary” childhood friend. I never did stop to consider about those presented with the reality of encountering someone more “childhood friendly” than themselves. I do appreciate what the opposite sex has to offer, but I was looking more for well-placed comical brilliance. The exhibit on display was too suggestive and too repetitive to draw my attention undivided. Reason and restraint were nowhere in the vicinity, most notably in not one, but two curveball scenes teasing all-out intercourse. I will give this series its due in the animation department though. Backgrounds and foregrounds were consistent and harmonious, fueled by an apparent need to maintain quality in the fanservice realm. The soundtrack also helped lighten the terribly dense atmosphere while keeping misunderstandings from spiraling out of control.
On paper, Shigatsu wa Kimi no Uso had all the makings of the next musical classic. Unfortunately, the narrative never sustained real momentum, its flow constantly interrupted by exasperating monologues and untimely attempts at humor. While the finale did manage to salvage the roller coaster with style and grace, I could not help but remain discontent in the means. I was always at bay with Kousei because of the needless portrayal of his afflictions over, and over, and over again. Furthermore, I never found reason to invest myself in the audience’s secondary thoughts and aspirations when the spotlight clearly should have been concentrated on the performers during those stretches. On the other hand, Kaori was a fresh breeze of air, ripe with talent and life experience far beyond the average middle-school student. Though her story was tragic, her presence made the rough patches along the journey worthwhile. In a musical and production sense, the effort was sensational. It was a rush of bliss listening to symphonic clashes between the violin and piano. Starry skies joined forces with bridges and train tracks to create some of the most surreal moments in the medium, backed by inspiring vocals and uplifting melodies. This was quite the surprise, as I expected most, if not all the trump cards to be unveiled on stage. Not to mention, it was also nice to learn about the title’s significance. What a lie it was, for better and for worse!
In comparison to its predecessor, the first half of Cinderella Girls was shortchanged in character presence and musical impact. The agenda was linear and lacking in material to further the idols’ runs at Cinderella glory. The original excelled by dedicating ample time for character development, showing where each member came from and what they were all about. In Cinderella Girls however, the basic archetypes and predictable personalities were a far cry from rivaling that same level of commitment. Not to mention, the unpolished lines and simplistic color schemes added dead weight to an already heavy load. Characterization, conflict, and consequence were all oversimplified and short-lived. There was just one episode that depicted the 346 Producer with a human edge. Outside of that episode, his stoic disposition was dry and uneven: rigid as cardboard and woefully mismatched to a managing role. It was tough to get any read on his emotions such as joy, sadness, and frustration (to name a few). I am positive the ramifications for Mio’s actions would have marked the end to her Cinderella aspirations in the real world. I also cannot imagine Anzu, despite her adorable antics, thriving with such a lackluster ethic in what is a demanding field. That said, the group of misfits brought forth great chemistry, setting aside personal grudges and differences to win game shows, seize the big stages, and pave their own roads across the vast city. Although this was far from a Cinderella story, I did find serenity in how the idols meshed together. I cannot submit a vote of full confidence, but I am still looking forward to a strong second half of new surprises and considerations.