She-Ra and the Princesses of Power: An American Magical Girl Series (with a lot of shipping)

Despite me being a big weeb, I am more than willing to admit that cartoons are better than anime by a long shot, at least modern ones. However, a number of them tend to be a bit predictable. One day, due to the impulsive part of the brain that says “F*** it”, I decided to watch a Netflix show called She-Ra and the Princesses of Power, reviews of which said it had a lot of depth. However, I was hesitant because it’s a reboot. While I loved DuckTales 2017, I was able to appreciate it because I at least knew the characters from other Disney stuff. But with She-Ra… I never heard of the original 1980s cartoon to begin with. Oh well, here I am nonetheless!

So, uh, the main protagonist starts out being raised as an orphan in… the bad guy place? I feel like that would’ve been too complicated in the ‘80s… Also, the “bad guy” group is called the Horde, and their leader is named “Hordak”, as in, the Horde. Ack. Seriously? Anyhoo, said protagonist, named Adora, ends up sneaking out with her anthropomorphic feline friend—creatively named Catra—to some forest where she finds a sword. After being told esoteric nonsense, our Adora-ble friend turns over a new leaf as the swole Princess She-Ra. 

I should start by saying how awesome this show looks. The art is simple, but effective, with a wide variety of pleasing color palettes and anime-like particle effects. It looks a lot like an American graphic novel, which I normally don’t enjoy, but the animation helps bring life to something that would otherwise be lifeless. Similar to Avatar, the characters are very anatomically correct by cartoon standards. 

Like The Dragon Prince, She-Ra 2018 follows a linear narrative right out of the gate. The show wastes no time getting interesting, as Adora swiftly realizes that the Horde has been shoving propaganda down her throat. Also, in case you couldn’t tell from Catra wearing a lot of red, she becomes the Zuko of this series when she finds out about the whole She-Ra thing. And speaking of She-Ra herself, Adora has to get acclimated with the power starting out.

As with about 90% of all American media for kids/teens, She-Ra 2018 has a pretty explicit theme of identity (which I can assume is not part of the original). Adora tends to be torn between her old life with kitty friend, and her new life with the people who are clearly the good guys. Plus, a lot of the residents of this world (which I forgot to mention is called Etheria) clearly know She-Ra as some kind of public figure. This puts pressure on Adora that is (as much as I hate saying it) something relatable to anyone who’s grown up in a first-world country; we all got told that we have to fix the entire world at least once as kids. 

Despite my hearing that She-Ra 2018’s story had depth, it’s sadly not the case. Well, technically it does have depth to an extent. There is a lot to the story, yes, but it’s incredibly straightforward. Also, despite what they set up between Adora and Catra, there is still a clear good and evil side. Even though certain individuals within the horde get interesting character development, the Horde itself is just one-dimensionally evil for no reason. But you know what, a kids’ show is a kids’ show, and it’s not like I exactly enjoy those SUPER complicated stories in the first place. 

Although it does nothing new, She-Ra 2018 reinvents the wheel quite well. It eases you in, but doesn’t waste time with random antics like most cartoons early on, yet giving you enough time to like the characters before sh*t hits the fan. Fortunately, there is enough humor to go around, even during the trying times. The humor is pretty much the standard for modern cartoons: witty comments and an awareness of its own running themes.

However, there’s a weird issue with season two. While She-Ra 2018 doesn’t waste time with cartoon antics early on, it starts doing just that in the second season. While there are some important developments sprinkled throughout, the second season does have its share of self-contained issues that have the usual lack of proper context. Fortunately, it is the second-shortest season, but it’s still the weakest nonetheless.

As good as the story is, it wouldn’t be crap without its likeable cast. Adora definitely has issues to work through, what with realizing that the empire she’s been serving is bad and all. Fortunately, these are all legitimate insecurities which aren’t even remotely on the level of smooth-brain of most cartoon protagonists (but that doesn’t mean she isn’t smooth-brained, period). The friends that she ditches Catra for end up being incredible supports. One of them is a glimmering princess named Glimmer. She starts off as a pretty typical “nakama”-type, but ends up going in an interesting direction later. Unfortunately, she ends up having a fair number of smooth-brain moments, even if they aren’t as bad as other cartoon characters. Plus, the unspecified limit to her magic is a plot detriment that becomes redundant until a certain point.

The other friend is the only male lead: an archer—an archer—named Bow. Yes, an archer named Bow. I checked IMDB and, indeed, that’s how his name is spelt. Not Bo, Boh, nor Boe; but Bow. His favorite band is probably Unleash the Archers (*laughs while slow-clapping*). Like Sokka from Avatar, he offers most of the comic relief, but he’s also very physically and technologically capable.

Of course, the show isn’t called She-Ra and the Princesses of Power for nothing; i.e. there are other princesses. From the valleygirl Mermista, to the nerdy-ass Entrapta (the names of whom I’m probably spelling wrong), each princess is good at one thing, and they do that thing to the Nth degree. Also supporting the main heroes are the chuunibyou pirate Sea Hawk, and the sassy horse Swiftwind. 

In order to make the show good, however, you need antagonists that are equally as likeable as the protagonists. But despite how big the army is, there aren’t that many people important enough to have names. Fortunately, quality supersedes quantity here. Take Best Girl Scorpia, for example. She’s basically a ten-year-old trapped in a ridiculously swole body, and is almost always enjoyable to see. A bit higher up the ladder is Shadow Weaver, who is—sadly—your typical Saturday morning cartoon villain, who’s all like “I’m bad and stuff”. She does get character development, but it’s quite literally something you’ve seen before. At the TOP of that ladder is the aforementioned Hordak. He seems unremarkable at first, but it turns out that there are a lot of other sides to him.

Last and yes, definitely, absolutely not least is who I can only assume is everyone’s favorite character: Kitty-witty Catra. She’s like Zuko and Azula in one, busty cat body. As Adora’s childhood friend, she becomes very livid very fast when Adora is all “Hey, I like these other people instead”. But for Catra, what doesn’t kill you makes you stronger… uh, wait, that phrase doesn’t work here. Basically, she uses that anger as fuel to become the biggest bi—wait, she’s a cat. She becomes the biggest, er… *asks Google what a female cat is* Molly (apparently) in the Horde. 

However, her character arc is way more complicated than that. In fact, I was legitimately impressed by Catra. As the series goes on, she battles very clashing emotions and insecurities. I’m willing to bet that she would’ve just been some twinkie who said brilliant one-liners such as “Hey Adora, cat got your tongue?” in the old show. But on the other side of the coin, she can just be written off as “an angsty emo kid” like Sasuke from Naruto. She-Ra 2018 needs a re-watch just so you can really take in exactly what causes Catra to go awry and when; you’ll need to understand how people work REALLY well in order to get why (and if it makes any sense).

If you couldn’t tell, the whole show revolves around a single love triangle: Adora, Glimmer, and Catra. Since the show’s done, there is at least an answer to that now, but I imagine that the fandom was very toxic while She-Ra 2018 was still airing. Unfortunately, it’s not that simple. Throughout the show, I felt like there was a massive multitude of potential ships, made evident through various context clues, such as Glimmer being jealous when Bow goes to a party with another girl. So no matter what happens, there will be at least five different reasons for you to unconditionally hate this show. Fortunately, they don’t drop the ball and have every ship either sunk or unaccounted for; there ARE clear winners, you just have to do the unthinkable and deal with it.

And for the record, this show is really good at not feeling like a reboot at all (which is a compliment). In DuckTales, I had a pretty good hunch of who was carried over. But in She-Ra 2018, everyone felt so modern that I have no idea if anyone was carried over at all. It could’ve been everyone, or even no one. I can only assume that everyone is carried over because of how uncreative their names are. 

If there is any real, substantial flaw with the show—minus its god-awful opening sequence, nakama-powered Deus ex Machinas, and abundance of fake deaths—I felt like Etheria itself was faulty. The setpieces are very pleasing to look at, but there’s no real sense of space in this show. As far as I’m concerned, the different kingdoms feel like they’re within a hop, skip, and a jump from each other. There’s also one character whose existence is implied early on but they never actually appear in the show. Furthermore, there’s no reason to care about anyplace. They make you give so many f***s about Bright Moon, but there is literally nothing there but the castle and its whopping six occupants. But you know what, it beats filler episodes where the cast stops at nondescript villages that never show up again to solve self-contained Saturday morning cartoon antics!

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Final Verdict: 8.7/10

She-Ra and the Princesses of Power ended up being a much better cartoon than I expected, even though I prefer The Dragon Prince (assuming its remaining seasons are just as good as the early ones). I’m especially glad that it wasn’t just ham-fisted P.C. Feminist propaganda; they actually put in the effort necessary to convey it through context. I can’t remotely imagine how the old She-Ra would’ve fared by comparison, let alone imagine what the plot would’ve been. I recommend She-Ra 2018 if you like magical girl shows but want a bit more class than what Sailor Moon offers.


P.S. with Spoilers

I thoroughly enjoyed this show, but I feel mixed about the ending. Sure, it’s good that they resolve everything cleanly and cohesively. However, the fact that the Adora and Catra ship actually got to sail felt like pandering. Their love is definitely not shoehorned in at the end; it’s readily apparent since the very first episode as long as you know how writing works. Look, I’m saying this without looking up other reviews of the show, but I feel like they ended Catra’s character arc that way just to pander to a fandom that would’ve otherwise berated them. If they planned it to be that way from the start, then cool. But man, though, it just so happens that the biggest ship actually sails? Since when does that ever happen?

Horimiya: Realistic to a Fault (First Impressions, Volumes 1-5)

As someone who’s been more into manga than anime, I’ve frequently heard people discuss manga that deserve anime adaptations. And in those discussions, Horimiya has consistently come up. It didn’t look too interesting to me, but when it actually got its anime adaptation confirmed, I read a bit in order to see what the hubbub was about.

In Horimiya, a girl named Kyouko Hori seems like a typical high school girl, but has a secret life where she has to take care of her entire house (baby brother included). Her life changes after a chance encounter with the seemingly stoic Izumi Miyamura, who is actually some kind of goth dude or something. Since they both have secrets, that gives them some sense of commonality, and they decide to become secret friends.

To be honest, I don’t get the big deal with Hori’s secret. Miyamura’s I get, because of the dress code and all that. But why does Hori have to keep her thing a secret? “Oh my gawd, she’s a responsible, upstanding citizen who cares for her family. How disgusting.” I’m not saying it’s easy for her to support her household while going to high school, but I don’t get why she has to keep it a secret. 

Also, I have no idea if this is a romcom or merely a rom. The reason is that nothing in Horimiya is actually, you know, funny. There are definitely jokes, but a lot of it is really bog-standard. The manga uses a lot of the “text box tells you what’s supposed to be funny” thing; I have no idea what it’s called. It’s where the character is like “Why is this guy acting weird?” and the text box points at that person saying something like “Has no idea that they’re the reason why he’s acting weird”. Yeah, I dunno what it is. Sleepy Princess in the Demon Castle and Dragon Goes House-Hunting use this technique a lot better, mainly because those manga have actual comedy in them (Ohhhhh snap). 

At the very least, they don’t beat around the bush with the romance. However, that doesn’t make their relationship any less cringe. They practically confess their love to each other as early as volume two, but try to pretend like they never said it. I guess the positive is that they are actually dealing with their own emotional anxiety instead of being like “Why did I feel weird holding his/her hand? I DUNNO MAN!”, but it still left me unwilling to give any of my spare rats’ asses to them. 

What really made me not care about their relationship was Hori and Miyamura themselves. Like I said before, I have no idea why she can’t tell anyone about her family situation. I get that teens are judgmental, but she can’t even tell her teachers “Sorry, my grades kind of suck because I’m forced to care for my younger brother all by myself.” Miyamura is a bit more tolerable, since his tattoo thing can be a big deal. The running joke of his “feminine” traits don’t make him much better.

There are also other characters and I don’t like them either. From jealous Ishikawa to… also jealous Remi, everyone in Horimiya has basic romcom tropes, with little-to-no personality. “Eeeeeeh but that makes them realistic,” you argue. I’m sorry, I don’t understand why people think subdued characters are more human. In my experience, REAL teenagers are much louder and bombastic than the cardboard cutouts in most slice-of-life series. I’ve even seen grown men and women playing around like children (well, specifically on Twitch but it’s still an example), and I sincerely doubt that anyone can actually grow up to be THAT boring in real life (and if you do, I feel sorry for you). 

The art of Horimiya is just about as flat and subdued as the people in it. If you told me that this was a redrawing of a web manga á la One Punch Man, I would not believe you. The characters are only distinguishable from each other due to their hair, but they would easily blend into a crowd of other series’ characters their age. The facial expressions feel like they’re from a how-to-draw-manga book, and have no impact because they’re all “realistic” looking.

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Current Verdict: 6.25/10

This is something I could’ve only brought upon myself. Horimiya is probably good for a romance, but I simply hate romance with every fiber of my being. I wanted to check it out because of the anime hype, and now I know that I’m going to be very mad during the January 2021 anime season when everyone I follow is going to be Tweeting about how great the anime is and make me even more stressed out than I already am on social media—*huff huff* Anyway, I recommend Horimiya if you deeply care about human relationships.

Vampires? Dystopia? Teen Angst? The Bloodline is Practically a YA Novel! (Volume 1 Review)

Sometimes it’s hard to write an intro. As I said in my review of Unnamed Memory, I’ve been disappointed with the new light novel releases pretty much all year. No one seemed to look forward to The Bloodline, published in English by J-Novel Club. And as someone who rarely posts about something popular, it seemed like a fitting choice for me. 

In The Bloodline, the world is ruled by vampires who feed off the common people’s blood. In the middle of some festival or whatever, a boy named Nagi breaks into some house and finds a girl named Saya. He saves her for no particular reason, and chaos ensues.

Sadly, there’s not much to say about the story thus far. The Bloodline is very generic across the board. Not only is it a typical “rob from the poor to feed the rich” dystopia (complete with vampires as if this was some YA novel), but it’s also a wish fulfilment fantasy. In about 30 pages, Saya thinks to herself: “I want to be with this boy.” I mean, sure, he saved you. But to be in love with him so impulsively? Not even Disney does it this fast anymore.

Time for me to sound like a broken record again. I don’t like the characters, not a single one of them! So far, Nagi is a typical whiny self-insert, and Saya is a typical damsel in distress. Keele is Nagi’s snarky brother, and this girl named Tess is the third wheel. I don’t even remember the names of everyone else, but they’re about as plastic as the rest of the cast.

But even with all these issues, The Bloodline is at least better than what I have read recently. Although the writing is about as negligent at describing people and places as a lot of light novels, the pacing and momentum is solid. There is some good entertainment value here, and honestly, that’s all I could ask for these days. Also, they don’t dump all of the lore on you at once in the beginning.

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Verdict: 7.75/10

Maybe I’m just desperate, but I actually have hope for The Bloodline. As bland as the story is idea-wise, it still appeared to be pretty well thought out by light novel standards. It’s no masterpiece at this juncture, but it could become close to one if it’s given enough love over time. If you like edgy dystopian novels, then this one’s for you.

Unnamed Memory is as Shoujo as it Gets (Volume 1 Review)

I feel like the light novel game hasn’t been strong lately, at least from the English-publication perspective. To be honest, WATARU!!! is the only new series that got me excited. And while I don’t mind having less titles to worry about, I still enjoy having new ones to look forward to. There are two new titles left on my list this month that seem promising, and today’s post covers the first: Unnamed Memory, published in English by Yen Press.

In Unnamed Memory, a Prince named Oscar Farsas has been cursed to where his boys can no longer swim without drowning. Since he’s an only child, he has to alleviate the curse or his family line ends. To do this, he visits Tinasha, the Witch of Azure. She says that she can’t undo the curse, but a woman with a uterus immune to the curse (apparently?) can birth his kid just fine. Oscar immediately proposes to Tinasha, and is rejected. But since he climbed her tower, she has to do something, and that something is to live with him while pretending to be an apprentice.

Does this light novel seem shoujo to you? Well, it is. This is one of those where the strapping young man sweeps the tsundere girl off her feet. However, this one takes its sweet ol’ time. That sounds all well and good, but there’s still a lot of the dumb shoujo clichés that make me want to rip my hair out.

This volume is all over the place, as it tries to set up multiple things at once with no rhyme or reason. For example, the second chapter is a literal murder case, and there are these very blatantly suspicious people at the scene of the crime (who, of course, knew that the crime was going to be committed before it even happened). The case itself is resolved very lackadaisically, as if it was just a Saturday morning visit to the park.

Because of this, I have no idea where the priority lies with the story. The murder case isn’t all that’s resolved super fast. They build up to this big ancient demon from a war that suspiciously happened at the same time that the Farsas family got cursed, and they just do away with it like it’s no big deal. It almost reminds me of Sailor Moon, which is actually a bad thing because I wholeheartedly dislike that series. 

Surprise, surprise, guess who didn’t like the characters whatsoever? Me! Oscar felt like a weird combination of genuinely caring for Tinasha while also being sexist? Based on the premise, you’d think she’d be the dominant member of the relationship, but nope, he still has to think he needs to swoop in and save her ass (but it doesn’t matter because their both overpowered protagonists). And to top it all off, he proposes to her on a daily basis and it’s ridiculously annoying. 

Tinasha is, so far, a cookie-cutter tsundere. Her identity gets revealed super early, which I can at least appreciate, but the fact that she’s accepted by everyone quite easily makes the whole thing seem pointless. The other characters are as “kinda just there” as any peanut gallery, and a lot of them are introduced quite suddenly.

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Verdict: 6.75/10

Unnamed Memory is a decent shoujo series I guess, but as someone who really doesn’t like shoujo, I can’t say I enjoyed even a lick of it. I’m not likely to commit to this series, but maybe you’ll like it if you’re a romance junkie.

I’m In Love with a Villainess Killed My Love for Yuri (Volume 1 Review)

One genre I did not expect to consistently blow me away was yuri; a genre that mainly focuses on a romantic relationship between two women. I just kept getting bombarded by these super entertaining and engaging stories. Murcielago, Otherside Picnic, Sexiled, and ROLL OVER AND DIE! have been real pleasures. So when Seven Seas published their edition of I’m in Love With the Villainess, and it became a #1 bestseller on Amazon and BookWalker, I was excited. However, like with virtually all media I’ve consumed other than One Piece

I CANNOT LIKE ANYTHING POPULAR.

In I’m in Love With the Villainess, a girl named Rae is transported into the setting of her favorite otome game, Revolution, with literally no explanation. She can date anyone she wants, but chooses the main antagonist, Claire Francois. Since Claire is a conceited noble girl, “tsundere” doesn’t even begin to describe her relationship with Rae.

From the first chapter, all the way to the end, I was flabbergasted. First off, the writing was abysmal. They don’t even go out of the way to describe the setting, not even in enough detail for you to get a sense of 3D space. Heck, I couldn’t even find a description of what Rae looked like; you literally have to take the part where it says Clair is blonde, and deduce that Rae has black hair by looking at the cover art and using the process of elimination! And despite being yuri, I felt no sexual tension between them, even when they’re naked.

And boy, the relationship between those girls was just lacking in… everything! Most of their interactions consist of Rae showering Claire with compliments, who responds by shouting witty comebacks. I understand that this comedic style is common in Japanese media, but it was so frequent that it literally felt like 19/20 of their interactions. Not even D-Frag!, which makes fun of it, was that bad.

The other bad thing was that the entirety of I’m in Love With the Villainess is Rae being in love with the villainess! “Well, duh,” you say, “it’s yuri.” No, you don’t understand. The other yuri I’ve read up to this point have something more. Murcielago had over-the-top gore and visual spectacle, Sexiled was crazy committed to Feminism, and both Otherside Picnic and ROLL OVER AND DIE! had high-tension suspense and action. Rae does kind of resort to tricks, like making up ghost stories just so Claire can cling to her, but compared to the sociopaths I’ve seen, that amounts to mere childish pranks. The only real scheme I could gather from I’m in Love With the Villainess was that Rae tries to build a ship between Clair and some guy. I’m anticipating that she’s doing this just to break them up, then swoop in and take Claire for herself while her guard is down. Even if that does happen down the road, it still leaves much to be desired compared to the other examples. 

Do I even need to discuss the characters? They’re all as flat as boards. Rae’s doting on Claire comes off as childish and annoying instead of seductive and sexy, plus she has no other personality quirks to speak of. Claire is just a boring tsundere; Rae even says that she never goes over-the-top. There’s also these three princely brothers, and why are they even in this LN at all?! This is yuri for crying out loud!

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Verdict: 5/10

I’m in Love With the Villainess is an empty husk of ideas, none of which are executed well. I am absolutely astounded that something like this has been so commercially successful compared to the other yuri series I mentioned. At this point, I have come to question the genre’s sense of quality. Was this series the exception, or the rule? In any case, just save yourself the pain and read any yuri series other than this one!

A Shipping Battle Royale for the Ages – The Quintessential Quintuplets Full Series Review

I don’t get romance. At all. That’s not a surprise if you’ve read any of my posts in the past. But manga usually convinces me to like something I normally wouldn’t. One of the most popular romance manga in recent years is Quintessential Quintuplets, published in English by Kodansha Comics. Did it win my heart? Find out!

In Quintessential Quintuplets, the five Nakano sisters are seriously failing at school. Fortunately, their filthy rich dad hires a tutor for them: the smart-talking Futaro Uesugi. One guy, one house, five cute girls. What could possibly go wrong?

While I don’t understand romance, it’s easy to understand why Quintuplets is popular. Chapter one concludes with a teaser of the series’ ending: Futaro marries one of the five sisters. This single decision is undoubtedly why Quintuplets is so big (or was so big- I’ll elaborate on that in a bit). The author knows exactly how fandoms work; with a canon ship built, it’s up to the fans to argue and banter over whom Futaro plans to set sail with.

It just boggles me that people can become so invested in these ships. Social media networks and subreddits of all kinds get ripped asunder, all over a fictional boy’s relationship with a fictional girl. They act like the entire world depends on him picking the right person. But is Quintuplets still enjoyable for those who don’t spend their free time fretting over ships?

The story is actually darn entertaining… for the most part. Quintuplets operates like a sitcom; when it’s just the main characters goofing around, it’s a pretty heartwarming good time. But once the drama kicks in, it’s an annoying, eye-roll-inducing slog. It’s tough to bring drama into something like this without making it a cringefest. Since it’s fictional, we know that everything that happens is entirely decided by the author; it’s really hard to make this kind of stuff seem natural, so I’m not too salty about it.

Unfortunately, it goes up in smoke at the end. The author does one of those stupid things where the story goes through several “what if” scenarios, none of which end up being canon, even in the case of the girl who actually wins. And when Futaro makes his decision, it feels arbitrary; all five girls more-or-less equally inspire him, and thus it feels like a roll of the dice. I’ve read discussions, and it seems that people really got into the nitty-gritty on the logic (or illogic) leading up the final decision, and as someone who has a hard time understanding relationships (let alone relationships between five siblings), I can’t vouch for ANY of those statements.

So how about the characters? Futaro is incredibly generic and unremarkable, but that’s okay, since the manga is called Quintessential Quintuplets and not One Essential Onetuplet (i.e. we only care about the Nakano sisters). I am baffled that people are meant to pick one of them and love them unconditionally, and that’s because they’re all kind of equal. I didn’t really like or dislike any of them. One standout thing about all five girls is that they’re female characters in a harem manga that actually get character development. And since character development is arbitrarily one of the absolute objectively good things in literature, I can definitely understand the girls’ appeal. But like I said before about human relationships, I never understood the logic behind any of the girls’ actions, which added to my not caring about them as characters.

The art is marketable and inherently appealing. Cute girls with blush cheek, check. Clip Studio backgrounds, check. The girls stand out thanks to their hair, and they take advantage of that to disguise themselves as each other (except they actually have varied hair colors in the color art. OOPS). It’s what you’d expect of a light and fluffy manga like this.

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Final Verdict: 6.5/10

As far as romcoms go, Quintessential Quintuplets is a decent com, but a viscerally terrible rom. Also, and I’m sorry for this, but I’m docking points for this manga encouraging one of the most toxic mindsets on the Internet in the form of a shipping war. If you want Quintessential Quintuplets, then go for it, but as far as I’m concerned, there’s many better manga out there.

The Sorcerer King of Destruction and the Golem of the Barbarian Queen Volume 1 Review

For every happy-go-lucky isekai, there’s one that tries to be all dark and brooding. One example is The Eminence in Shadow, which I recently covered. There’s also, of course, Overlord and Torture Princess. Despite their wild variance in quality, they all seem to have one thing in common: they’re not really that dark at all. I’m fine with that, but it would be nice to have something that’s truly effed up. Maybe this new series from Seven Seas, *takes deep breath* The Sorcerer King of Destruction and the Golem of the Barbarian Queen, will be dark enough.

In Sorcerer King, a dude is summoned to another world. He finds some books, and realizes that the purpose of his summoning is to become the titular Sorcerer King of Destruction and destroy the world! Ignoring that last part, he practices some spells, such as summoning golems. When he actually manages to make one that lasts, he loses all of his memories of the real world.

What is immediately made apparent is that this thing starts off slow. And I mean real slow. To put it in anime terms, it fails the “Three Episode Test”, which judges anime under the pretense that it’ll pick up during the third episode at the latest. It takes almost a quarter of the volume for the guy to create the other protagonist, his golem, Goltarou. However, it doesn’t become the strapping she-golem that probably made you want to read this light novel in the first place until about halfway through.

And as far as tone is concerned… Sorcerer King is- surprise, surprise- edgy, instead of dark. Even if the protag has no memories of himself, he still has memories of Japan and various otaku terminology, which is as out-of-place as it usually is. But if anything is dark, it’s the world itself. This is the sorriest state I have ever seen an isekai setting in; even more so than Torture Princess, which is definitely saying something. There’s no need for a Sorcerer King of Destruction; it seems the world is already destroyed.

When it comes to the characters, it’s just our main protagonist and Goltarou. He’s as generic as you can expect. In fact, without his memories, anyone can project themselves onto him, hooray! The real point of contention is Goltarou. One aspect that stands out is the possibility that she’s transgender, which to me, is a first in isekai (ps: if trans is the wrong term for this, then please correct me). However, they’re still clearly pushing for a heterosexual romance between her and the main protagonist, so it’s kind of up to interpretation. Due to the fact that Goltarou is silent, has no personality, and does whatever the main protagonist says, her being 100% female would make this LN come off as hardcore sexist.

The art is mixed. While the cover art is fine, the inside illustrations are very rough and sketchy. Everything has a dark toner that makes a lot of stuff blur together, and I’m not entirely a fan. But hey, what’s important is that Goltarou is very *makes cat noises*. 

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Verdict: 7/10

So far, Sorcerer King is very… okay. It could go either way from here, so I can’t definitively say what I think. For the time being, I recommend it if you like those anime waifus who walk around like robots and call you “goshujin-sama”. 

Millennium Actress Movie Review

I stated in my Tokyo Godfathers review that it was the “best anime movie I’ve seen since Ghost in the Shell“. As such, it was a no-brainer that would watch another Satoshi Kon flick, Millennium Actress, on Kanopy, from a completely different license holder than GKids. Going into it, I was aware that Tokyo Godfathers was a black sheep in Kon’s career, and that this movie was going to be much darker and stranger than I could possibly expect.

In Millennium Actress, two documentarians, Genya Tachibana and Kyouji Ida, are given the opportunity to interview retired actress Chiyoko Fujiwara. The old bird gladly divulges her life story to them, and those two end up along for quite a ride.

And I mean that literally. The movie seems straightforward at first glance, and that’s because it is. Minor spoilers: it doesn’t take long before the men interviewing her are literally IN Chiyoko’s flashbacks along with her past self.

Just when you thought things couldn’t get more meta, here’s a real hum-dinger. The bulk of Chiyoko’s story isn’t just told through flashbacks, but additionally through assorted scenes in her movies. These are seamlessly integrated into the actual plot, which is quite impressive (also, it’s convenient that all of her movies had similar premises). In these sequences, Tachibana ends up inexplicably planted into each given movie as an extra, further adding to the meta aspect.

Unfortunately, the biggest issue with Millennium Actress is Chiyoko’s story itself. The main conflict of the movie involves Chiyoko trying her butt off to find a tall, dark, and handsome guy she met for five minutes when she was, like, twelve. It’s so annoying when a female character gets her heart set aflutter by these idealized bozos. Sure, she was young and dumb, but the guy looks like he’s at least fifteen years older than her, which is kinda weird. Look, I don’t hem and haw over these intentionally controversial old-on-young people romances, like the Monica and Richard thing from Friends, but at least they GOT TO KNOW EACH OTHER FIRST.

This doesn’t help her as a character either. While it’s always fun [for Westerners] to watch someone descend into madness, her issues seem cringey and annoying. At least characters like Citizen Kane had REAL issues, his case being his own mother selling him to the freaking BANK, or Mildred Pierce, whose case I won’t mention because it’s a spoiler. Overall, Chiyoko comes off as a whiny brat throughout the film.

Fortunately, the two reporters are better. They have great chemistry with each other, and add a lot of humor to the movie that very much reminds me of Tokyo Godfathers. Also, they sort of represent the audience in some way. Tachibana comes off as the self-proclaimed intellectual who is totally into whatever the movie throws at him, and Ida acts like the trend-savvy, filthy casual who wouldn’t know REAL art even if it placed his head into its bosom. The fact that I’m not waxing poetic about Kon’s “Schrodinger’s Cat, quantum-reality-warping transcendentalist genius” or whatever means that I’m CLEARLY more like Ida in this case.

When it comes to visuals, despite being only a year or two before Tokyo Godfathers, Millennium Actress looks much more aged. But even then, it still looks better than pretty much every TV anime these days. It also seems that Kon’s movies have a signature face style, similar to that of Ghibli. I hope that I don’t get sick of it if I choose to watch any more Kon movies.

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Final Verdict: 8.85/10

While I didn’t enjoy it as much as Tokyo Godfathers, Millennium Actress was still a great movie, and proof that this Kon guy knew what he was doing. However, when you take away the whole “warping between past, present, and movie scenes” thing, it amounts to little more than a bog-standard tragic love story. This brings up the question of what’s more important in storytelling: The story or the telling? I’m a bit of a weird combination of both, but you’ll need to lean a lot toward the latter in order to enjoy Millennium Actress.

Watari-kun’s ****** is About to Collapse, First Impressions (Volumes 1-4)

I tend to have a soft spot for manga that would profusely offend the average folk. So naturally, I’d be curious about a manga that has to have part of its title censored! Let’s check out the bizarro romance manga, Watari-kun’s ****** is About to Collapse, published in English by Kodansha Comics.

Okay, so this manga’s premise is way more complicated to describe than actually experiencing it for yourself. Basically, a young lad named Naoto Watari lives with his aunt and dotes on his little sister, Suzushiro Watari. His life is pretty good, until a girl named Satsuki Tachibana appears. Six years ago, she destroyed his family’s garden (for some reason), and now, she comes on to him. And apparently, this destroys his life.

My best guess as to what was about to collapse is “sanity”, because that’s what was about to collapse for me as I was reading this. The plot of Watari-kun’s is off the wall… sort of. Basically, it’s a typical romance that tries to be a twisted, tragic love story (I think?). The idea of it is that Naoto forms these relationships with Satsuki, as well as Yukari Ishihara, one of his classmates, and his sister is super-psycho against it. He wants to dote on his sister for all eternity, and before long, it becomes evident that Suzu is pretending to be an utter ditz just to perpetuate that doting.

But despite his whole sister thing being in the product description, the real plot is… a shipping war. The main combatants are Satsuki and Yukari, and it’s about as entertaining as it sounds. A lot of times, I feel like that Watari-kun’s is trying to be a dark, psychological tragic romance… but it fails miserably. The main reason is because it’s a pretty typical romance, with only a couple of blips of grittiness. 

And the grittiness is only relative. I was expecting it to be super-controversial, given the censored title. But as far as I got, the most controversial thing was this one scumbag guy who tried to overly assert his “male dominance” on one of the girls. Other than that, there’s nothing that special about this manga.

Speaking of not special, the characters match that description as well. It absolutely astonishes me that every single character can have a genuine psychological issue, and yet still be as boring as cardboard. The only even remotely interesting character is Satsuki, who is kind of a yandere I guess? I dunno… I didn’t like ANYBODY.

The art is also painfully average. While there are some shots that seem to go for the psychological atmosphere, Watari-kun’s looks typical even then. The characters look like they came from a How to Draw Manga book, and the backgrounds scream Clip Studio assets. 

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Current Verdict: 4/10

Watari-kun’s ****** is About to Collapse collapses in on itself mere minutes after starting it. I’m doubly disappointed in it because I at least thought it would profusely offend me. But no… it couldn’t even do that. I’m sorry, but this is probably one of the worst manga I’ve ever read. I don’t recommend it to anyone, even to people to enjoy shipping wars.

The Legend of Korra Full Series Review

Before I get into this review, I must say that the fact that I watched Legend of Korra is super ironic. I specifically waited for Avatar to come out on Netflix so I didn’t have to pay Amazon to watch one show. Now, I ended up doing just that to watch one show, when I could’ve used it to watch two shows months ago. Sure, I could’ve watched the first half of Korra on CBS All-Access, but I just didn’t feel like relying on two services to watch a single show (let’s see how long it takes for them to announce Korra coming to Netflix).

While I didn’t think Avatar: The Last Airbender deserved to be lauded as one of the greatest fantasy epics of all time, I nonetheless thoroughly enjoyed it when I recently watched it (link to that review here). I enjoyed it enough to watch the sequel series, The Legend of Korra, the day after. But one difference in my experience was that I had some basic idea of what Avatar would be like. As for Korra, all I’ve seen is one screenshot- with no context- that looked like it was trying to reference Steins;Gate. The 2010s were the start of an ongoing point in time where cartoons became more naturally influenced by anime (perhaps thanks to Avatar), so I was really curious as to how this show would play out. Let’s see if it improves upon its predecessor or suffers from the timeless “sequel curse”.

In Legend of Korra, set seventy years after the original Avatar, Aang inevitably bites the dust. Replacing him is a new Avatar named Korra, who already knows three of the elements. When Korra follows Aang’s son, Ten Zin, to the futuristic Republic City, she gets more than she bargains for!

I went into Korra expecting it to be so anime, that it wouldn’t be a cartoon. But when I saw the updated version of Avatar’s classic opening, I was surprised by how familiar it felt instead. However, that doesn’t mean Korra is a repeat of the original Avatar. In fact, season one starts with her having to learn Airbending, the one element that has not been touched upon before. They also try some genuinely interesting new ideas, including telling the backstory of the entire Avatar world from the perspective of the first ever Avatar (which ends up retconning the whole lore of the animals being the first benders and stuff but I won’t discuss that at length).

To be brutally honest, Korra is definitely a lot more anime than Avatar ever was. First off, the plot is much more focused right away. While most episodes have self-contained narratives, each of them has a fluid connection to the overarching story. This means less filler, woohoo! 

The show is also more anime in terms of its visuals. While it still behaves like a Saturday morning cartoon, a lot of aspects- from the textures, to color palettes, to lighting effects, etc.- feel very distinctly anime. It also helps that they outsourced the show to some actual Asian studios (I know I always talk about visuals last but it just flowed better for me to put it here, okay?). But in the end, the facial expressions and mannerisms show that this is the same Avatar that we’ve always known; it’s just a more organic union of Eastern and Western animation.

But sometimes, it does lean too far into the anime territory. On paper, that’s not inherently bad. However, in Korra‘s case, it ends up falling for some battle shounen shortcomings. Specifically, there are times where the show abandons the well-choreographed fights based in real-world martial arts for pure visual spectacle. This has happened in stuff like Dragon Ball and Naruto before, much to many people’s dismay. I’m pretty tolerant of mindless spectacle (“Boo, you filthy casual!” you think), but that’s only the case if the show sets that as an expectation. It’s jarring to go from the kind of battles in Avatar to stuff that resembles a Godzilla film in Korra. Also, I’ve never cared much for spectacle in TV form; animation doesn’t move me like really good manga art does.

When it comes to worldbuilding, the world of Avatar has definitely changed. There’s a lot of modern technology and politics in the  world now (typical fantasy mumbo jumbo). Even the recaps are done through early 20th Century-style radio broadcasts. But despite this, a lot of familiar elements, from the White Lotus, to bison, to- well- the elements, are still present and accounted for. They even found a way to integrate the cabbage guy meme into Korra!

On the flipside, it could be argued that they tried too hard to make the world feel like that of the original series. While the visuals are still a better marriage of anime and cartoon, the writers seemed to not know if they wanted to make the show feel profoundly different or nostalgic. At times, the results make Korra come off as a fanfic, especially with the cabbage reference I mentioned earlier. There’s also a lot of contrived throwbacks, like having characters such as Ten Zin’s brother, Bumi- named after Aang’s old friend- who happens to have the exact same personality as the original Bumi, or having a minor character voiced by Zuko’s actor. The occasional flashback to future Aang’s past (wow, that sounded like an oxymoron), where you see characters like Sokka and Toph as adults felt really cringey, and made me ask, “Was this really made by the same team?” 

As much as we can argue about Korra’s worldbuilding, there’s still the story itself to get into. With no Fire Nation, who’s there to fight? Well, in Korra, it just so happens that everything changed when the Equalists attacked. The Equalists are muggles, led by a masked man named Aman, who wants to do away with benders for good. Yes, this is the same “rich vs poor” theme that’s been in 999/1000 fantasy narratives, but it’s been a timeless theme for a reason (that reason being that it’s an overly-obvious parallel to our own society, and social commentaries are always “smart”). But that’s just season one. 

Another battle shounen trope Korra pulls is the “well that was a pretty satisfying conclusion to end on, but hang on this series is actually pretty popular, so I guess I gotta just keep it going somehow” that’s prevalent in many manga of the genre. I suppose that contradicts what I said about there being more focus, but that statement more so applies to the individual arcs themselves. This is due to circumstances around Korra’s development. The show was put through production hell, to the point where Nick ended up airing the final season online instead of TV. They did the show in this arc-based structure because if they didn’t, the show could’ve gotten axxed without warning, with cliffhanger endings unresolved.

This immediately makes Korra‘s narrative inferior to Avatar’s for one reason: lack of anticipation. The finale of Avatar was exciting because the show built things up over the course of its three seasons. But due to the episodic structure, Korra couldn’t do that. None of the final battles felt particularly exciting to me, even if they excelled in the visual department. Fortunately, the show somehow manages to maintain a consistent theme: balance. Like Ten Zin says in the intro, “Only the Avatar can master all four elements, and bring balance to the world.” It was pretty cut-and-dry what Aang had to do to restore balance, which was to get rid of Zuko’s bad dad. But in Korra, it’s not as clear. Every antagonist’s motive revolves around bringing the world into a new era that they genuinely think will be good (well, maybe not as much in the case of the season two villain…), and the show tries to make the villains more complex than Ouzai. There are two issues with this. One, like with the Equalists Arc I mentioned earlier, these narratives aren’t particularly original. And two, like in many battle shounen, the villains’ sound arguments are rebutted by the typical “No, that’s wrong!” of the nakama-powered protagonist, which doesn’t exactly leave stuff open to interpretation. But hey, kudos to them for working with what little they had.

They do go off the rails in the final season (which, by the way, has a recap episode almost identical to its counterpart to The Ember Island Players episode of Avatar). Despite the season being titled “Balance”, a lot of it tackles PTSD, in addition to a conflict formed by perhaps the most unsubstantiated antagonist in the entire Avatar universe. Seriously… this antagonist was a random guard in season three who didn’t even have a name, and that’s assuming they weren’t a random shoehorn. But like any shounen manga that loses its way, I found the final season to be an utter slog, which culminates in a theatrical, but unsatisfactory finale that felt empty due to the aforementioned lack of proper buildup.

In addition to the narrative, the cast shows more immediate issues than the previous Avatar. Korra starts off as a muscular Katara (which would be a more apt analogy if Katara wasn’t still alive as a gram-gram); a brash, overly tomboyish girl who thinks entirely with her stomach. Furthermore, she acquired a classic reverse harem in Bolin and Mako. Bolin is the cute, down-to-earth, funny guy (basically a Sokka clone but with less character development). Meanwhile, Mako is a dream boat that Korra likes, yet he friend-zones her for a Twinkie from the city.

Said Twinkie is a broad named Asami Sato. She’s a typical empowered, gorgeous, and idealized woman. There is NOTHING wrong with her, whatsoever, at least in terms of her personality. While she is very plot relevant, she happens to cause an annoying shipping war that governs much of seasons one and two. I would believe that her main purpose in Korra was specifically to trigger said shipping war… except her REAL purpose is not evident until the end of the series (and no, it didn’t make me like her any more as a character).

“Now, now,” you say, “don’t jump to conclusions. You yourself said in your own Avatar review that the characters started out lackluster, but became a lot better in later seasons. These same issues with the cast of Korra are no doubt minor kinks that they need to work out.” I was perfectly aware of that possibility, so I was willing to give Korra the benefit of the doubt. However, the cast doesn’t exactly work through their shortcomings. While Korra’s shipping war with Asami does conclude by the end of season two, she remains a brash, reckless drama queen to the bitter end. They tried to give her character development in season four, but they waited too long to do it, and thus it felt crammed in at the last minute to me. And while we learn more things about Mako and Bolin, they remain very unentertaining characters (and the latter is still a Sokka clone).

Another issue is that I never felt a sense of growth in terms of power. The original Avatar always made sure we saw some good training every so often. But in Korra, it feels like she just gets new powers thrown in her lap without her having to work for it. It’s typical plot armor, and I definitely acknowledge that Aang had some on him as well. In Avatar, the plot armor was from something that was established ahead of time, like Katara’s special water. But in Korra, there are some cases of random BS magic, and it’s definitely a step backwards from Avatar.

Fortunately, there is a silver lining. One of Japan’s rules is to respect your elders, and this shows in some of the older folk. Ten Zin comes off as a rigid sensei who screams “Don’t do this reckless thing!” while the main protagonist proceeds to do it anyway, and to an extent, he is. But he’s a great family man and has a surprising sense of humor who also learns some lessons of his own. We also have a hot grandma named Lin Beifong. Yes, she’s Toph’s daughter, and she packs the same sass and power as her mom. There’s also the aforementioned Bumi, whose eccentric personality- inspired by his namesake- makes him a chuunibyou; very anime. And while not technically elderly, an eccentric entrepreneur by the name of Varrick proves to be quite the wild card… and ended up being my favorite character in the series.

Final Verdict: ??/10

Writing everything in this review up until now was easy; after all, I’m merely just listing the pros and cons of the topic like I always do. But never in my not-even-one year of blogging have I ever had such a hard time giving the final score. My feelings about The Legend of Korra were divided well after the final episode’s credits rolled, even when taking the circumstances into consideration.

Recall how I kept saying that certain aspects of the show didn’t stack up to Avatar; some of the fights went for spectacle over choreography, there was no long buildup, there wasn’t as much character development, etc. One of the biggest arguments when critiquing a sequel is how to properly compare it to its predecessor. After all, some shows, like Steins Gate 0, explicitly went for entirely different vibes than the original, but because it wasn’t exactly like the original, it got burnt by some critics (for the record, criticizing a sequel for retcons is an exception). I was essentially doing the same to Korra. Is that really fair? If Korra wasn’t the sequel to Avatar, I’d view it as a typical shounen anime, complete with all the genre’s shortcomings. But because its predecessor had character development and great fights, I criticized Korra despite it being, ironically, more within my ballpark than Avatar.

Sequel or not, there are some elements of Korra that are bad in any context, and ones that Avatar did not have. First off, the shipping was awful. Even when the Korra-Asami-Mako thing was resolved, more ships took its place. Bolin has ships with SEVERAL women throughout the course of the series, as well as one of Ten Zin’s daughters. The one thing that they have in common is that they’re constructed too hastily; for the most part, characters are pretty much dating within the same episode or the following episode after they meet. Sure, this is another consequence of the production issues, but bad romance is bad romance.

There’s also the fact that I’m an adult man who’s been spoiled by a lot of the really good content I’ve seen over the years (and by watching it in 2020), and have not touched modern cartoons, a medium with entirely different standards than what I’ve been used to. Apparently, a lot of the appeal of Korra was that it did a lot of controversial stuff (at least according to an old article in Vanity Fair published the day after the finale aired). A lot of Korra felt typical to me, but apparently, cartoons sucked at that time; after all, a lot of the other influential cartoons of the decade, like Gravity Falls and Steven Universe, had only just begun. However, I don’t factor a show doing something for the first time in a given medium into the final score; I rate based on entertainment value alone. It’s the same issue I had with Chainsaw Man: the medium it’s sold on versus the medium that it behaves as. What I mean is as follows: my thing with Chainsaw Man was that it was super-gorey, with layered characters, and one scene where its main protagonist is straight-up offered free sexual intercourse. All of these are typical of seinen manga, which are targeted toward older teens, but because the manga is in Weekly Shounen Jump, a magazine for preteens, it felt a lot wilder as a result. In Korra’s case, a lot of tropes typical of anime, JRPGs, and even some children’s novels, are included in a cartoon. Should it be given a higher score just because cartoons in particular wouldn’t normally have content like that? Anyways, this post has gone on long enough. After much deliberation, I decided to give this show a…

Final Verdict: 7/10

Regardless of it being a sequel, The Legend of Korra had a lot of flaws that cannot go unpunished. And the reason why I don’t give it the benefit of the doubt as much as my favorite shounen manga is that Korra is a TV show. In a manga, a lot of shounen tropes are trivialized by the sheer fact that manga are books. If an arc is boring, I can speed through it. But in a TV show, I cannot. This applies to anime too, and why I watch them so infrequently. But in the end, Korra did enough good to earn a slightly-above-average score. I recommend it to battle shounen fans as well as fans of Avatar.