An unspoken tradition in the world of anime and manga is to make things into guns. Swords are among the first weapons to become guns, for example. Even Western anime like RWBY honor the tradition by turning scythes, boots, and even suitcases into guns. Honestly, it’s surprising that it took until the manga No Guns Life, published in English by Viz, to turn an entire person into a gun.
In No Guns Life, people get all kinds of augments. The people with these augments are called Extended. Juzo Inui is so Extended… his freaking head is a gun! Although there is no war, things are not safe in the city, and he does all sorts of odd jobs to get by. But one fateful day, a dude hires him to protect a child named Tetsuro Arahabaki. Turns out that the dude was being remote controlled by Tetsuro due to a special ability called Harmony. Because of this, the megacorporation known as Beruhren tries to climb up Juzo’s ass. But that doesn’t matter; if the client pays, he’ll do the job.
At first, it seems that No Guns Life is a typical “cyberpunk starring a hard-hearted war veteran who was used as a tool, is outcast by society now that he’s obsolete, and is sucked into a massive government conspiracy while he comes to terms with his past and makes us wonder what makes us human”. And, well, that’s because it’s just that. Like Levius, there really isn’t anything particularly special about the manga in terms of ideas.
Fortunately, it does have a good sense of momentum. So far, No Guns Life has behaved similarly to Ghost in the Shell, where we observe Juzo take on various jobs, each of which tells us a little more about the world and the overarching story. The plot is engaging, and full of intrigue, even if it’s all stuff we saw in every piece of cyberpunk media ever published.
Unfortunately, its cast is not too special. Juzo is the most likeable by far; he’s that nonchalant bad-ass type. There’s a number of parts where he gets livid just for someone messing with his favorite brand of cigarettes (as a small side note, there is a chance that the fact that it is implied that his smokes are essential for his Extended body to function could be interpreted as the manga endorsing substance abuse. But I’m the last person who wants to be “that guy” so I’ll leave it to your discretion). But other than him, we have some typical cyberpunk tropes. Tetsuro is basically a shounen protagonist disguised as a supporting character, and his personal engineer, Mary, is the sisterly figure who exists to tune him up while sometimes being a waifu.
The antagonists aren’t much better either. If you couldn’t tell from the rundown of the premise, Beruhren is the typical evil, monopolizing conglomerate that “symbolically represents Apple and Google and their massive conspiracy to take over all our personal data and allow the world to be controlled by Chinese censorship since they’re the biggest market in the world and all they care about is money” (side note: I’m being sarcastic and I personally don’t believe any of that). There’s also the organization, Spitzbergen, that is against the Extended (and guess what: they use Extended to kill other Extended which represents “the hypocrisy of the government and/or every organized religion”). And as far as individuals are concerned, at this point they’ve mainly been war veterans who got all cuckoo as a result of PTSD which “represents what Juzo could potentially have become which makes them morally ambiguous for some reason”.
At the very least, No Guns Life has great art. It has a rough style, with plenty of action. Even if the antagonists are lackluster, they at least have some legitimately creepy character designs. And speaking of character designs, Juzo definitely stands out as a protagonist given his unique head shape.
Current Verdict: 8.4/10
I hate saying this as a sci-fi fan, but cyberpunk has definitely lost its luster since the 1990s. At the time, sure, it was cool to be like “Whoa, what if we’re living in a simulation?” or, “Does pimping ourselves up with machinery make us no longer human?” But now, in this day and age, questions like that are about as cliche as a hentai protagonist being popular among cute girls. Despite how much the genre brings to the table, it’s deceptively restrictive. Personally, I believe that sheer entertainment value is all that cyberpunk has left in terms of appeal, and No Guns Life delivers (took me long enough to get to the topic at hand). I recommend it to any cyberpunk fans, as well as edgelords who think having a gun-head is cool.
Time travel is always a contentious topic, both in real life and in writing. While scientists debate whether or not it’s possible, writers explore its ramifications. The results of the latter, well, vary wildly. But sometimes, you don’t need to travel in order to change the past, which is the case in May These Leaden Battlegrounds Leave No Trace, published in English by Yen Press.
In May These Leaden Battlegrounds Leave No Trace, two nations- one in the east and one in the west- are at war, with the latter on the winning side. For a cadet named Rain Lantz, everything changes when the Fire Nation atta- I mean- when he meets a girl named Air Arland Noah. The bullets she fires are special; a killshot from these bullets results in the target’s erasure from past, present, and future.
While not a particularly interesting concept, Leaden Battlegrounds is essentially Steins;Gate but in a military setting. It’s pretty easy to suspend disbelief, since it’s set in a sci-fi fantasy world. All bullets have magical properties, but Air’s are one of a kind. They are called Devil’s Bullets, which will henceforth be known as D-Bullets, since it would be way too coincidental if they weren’t an intentional reference to Steins;Gate‘s D-Mail.
And similar to Okarin, Rain spams the D-Bullets like a Smash player using Kirby’s Down Special. For the time being, there doesn’t seem to be many cases of time-f***ery like there usually is. That’s kind of bad because it makes the light novel have no stakes, given how serious it takes itself. The D-Bullets are almost an excuse for Rain to never have to face any form of consequence.
There are also a couple of issues that tend to plague most light novels, especially isekai (even though this isn’t one). There is some tonal whiplash, an example being a whole chapter of typical school antics (i.e. ecchi) that have no place in the story whatsoever. The author also gets exposition-happy, oftentimes reminding us that the D-Bullets erase people from existence at least once per chapter. There are also some examples of cheap shock value that appear to just arbitrarily elicit an emotional response.
But all things considered, Leaden Battlegrounds has some solid momentum. Other than the stupid ecchi chapter, there’s always some kind of new development and intrigue. Of course, being somewhat of a time travel narrative, it could fall apart quickly. But for now, I’m curious as to how things can play out from here.
Unfortunately, it has the usual crapshoot of bland characters. Rain is a pretty generic teen who sometimes feels like he’s better suited to be in a gag shounen (which may be symbolic of militarism or something but I digress). Air is basically the highest selling point of the book; a cute loli with the out-of-left-field trait of wanting to show Rain her panties. Everyone else is kind of just… there.
The art is middle-of-the-road. It’s appealing enough to make someone at least look at it, and that’s really enough when it comes to selling a light novel. I’ve definitely seen better, but Leaden Battlegrounds still has respectable visuals.
May These Leaden Battlegrounds Leave No Trace is off to a better start than most light novels I’ve read lately. But like I said before, there’s no telling where this story will go. For the time being, I recommend it to time travel and military science fiction fans. What are your thoughts on this volume? Leave a comment if you’d like!
Last time on Kuma Kuma Kuma Bear, a girl named Yuna logs into her favorite MMO, World Fantasy Online, during a new update. She is given some game-breaking bear-themed equipment as a gift for playing for a long time, and is sent to an unfamiliar part of the game world in said bear equipment, with her level reset to 1. She saves a girl named Fina from wolves, and the two of them head to the nearest town with the mob loot. They sell it at the guild, and Yuna spends her hard-earned cash at the inn. The next day, Yuna- guess what- registers at the guild, but only after- guess what- beats some red-shirted upstarts. She then buys a ton of throwing knives, along with a sword and butchering knife, as well as some normal-people clothes. She also acquires bear-themed magic, which she practices on some wolves. She beats enough of them for it to instantly promote her to E-Rank at the guild. Some of the friends of that guy who she beat up start slandering her, and as a result, she is forced to undertake a goblin-slaying quest with them. The required amount is fifty, and she offers to fight them all herself and give them the credit so they stay off her back. She goes with the female adventurer, Rulina, defeats them all herself (double the required amount and a boss), and earns respect among the other group. Over time, Yuna defeats so many monsters that she becomes D-Rank with no effort, and hires Fina to butcher the spoils. They go on a quest to fight tigerwolves, which go down easily. Lastly, Yuna spends a heap of cash on an empty plot of land, and constructs a bear house to live in.
The bear-themed antics are just as bear-themed and… un-antic-y (professional term) as last time. Honestly, I struggled to write anything of substance in this post, and that’s why I’m pairing it with a review of Infinite Dendrogram Volume 12. The second volume of Kuma Kuma Kuma Bear is almost exactly the same as the previous one.
At the current rate, it seems that it’s going to commit to being an episodic CGDCT isekai, which for some (many) people, is enough (especially with the bear onesie). Yuna visits some noble guy, which- I’ll admit- her apprehensiveness to the request was actually kind of funny. But afterwards, Fina’s mom is sick, and Yuna- being the OP protagonist she is- restores her to perfect health almost instantly. Everything happens so unceremoniously that it bores me to tears. Furthermore, the “let’s tell you the same chain of events you just saw but from Fina’s perspective” thing does not die down in this volume.
The issue really is the bland and basic writing style. While there comes a point where TOO much finesse can make you sound like a pretentious hack, not enough will make your work seem lifeless. I couldn’t be immersed in any fashion, and I could barely visualize anything besides Yuna.
You know what, Yuna really is the only thing that matters, isn’t she? She doesn’t just look adorable, but she also helps people for no reason. WHAT AN AMAZING AND NOT-AT-ALL IDEALIZED PERSON. I feel like the author expects people to love her because of how good she is. Well, us critics got a name for girls like her: Mary Sue.
Kuma Kuma Kuma Bear is so superficial. It’s cute, it’s relaxing, but it relies entirely on Yuna’s cuteness. If she didn’t have a bear onesie this thing would not sell. All of her powers are typical stuff, but they just have the word “bear” tacked on to them; they aren’t even puns! Compare it to Invincible Shovel, which actually uses shovel-like properties, such as “digging” through people’s memories, or “burying” entire castles. My chances of reading more Kuma Kuma Kuma Bear are next to nil. I’m going to be so salty when the anime airs because I KNOW that people are gonna be all over Yuna’s bear suit and her good will, WHILE SOMETHING LEGITIMATELY GOOD AND ORIGINAL LIKE TO YOUR ETERNITY WILL GET SHAFTED BECAUSE FUUUUUUUUU-! Anyway, if you like CGDCT and isekai, then Kuma Kuma Kuma Bear will do just fine.
Infinite Dendrogram Volume 12
Last time on Infinite Dendrogram (volume 10), Ray goes to college while also having a new accessory made for him that would help him resist poison. That’s it for him. In Caldina, Hugh Lesseps gets involved with some crazy woman named AR-I-CA on a quest to find a bunch of sealed boss monsters that were stolen from Huang He. A powerful mafia called Mirage goes after them, but they become a non-issue real fast when Dancing Princess Hiuli defeats them all by herself. Gerbera, in the Gaol, also gets stronger as she trains with her new friends in Illegal Frontier, led by the King of Crimes, who is incidentally involved in what is going on at Hugh’s end. Things are looking intense, AND WE FINALLY GET TO SEE WHAT HAPPENS NEXT.
Er, well… not quite? The stuff that happened last time felt like setup, and this volume feels like… more setup. The developments last volume end up being ignored in favor of some new ones. First off, Figaro’s yandere girlfriend, Hannya, is released from the Gaol. She hates couples… which is why it’s so perfect that she was released during the time of a lovey-dovey festival in Gideon.
There’s also some new political developments, mainly this arranged marriage with Princess Elizabeth and one of Huang He’s princes. In order to butter them up, they hang out during the aforementioned festival. They also hint at a potential alliance with Caldina in the future, but nothing seems to come of it yet.
The volume starts with some more insight on Kashimiya, this iai-fighting dude that we only got to see a blip of once upon a time. But after that, the bulk of it is the lovey-dovey festival. And yeah, it kind of feels like a filler volume, even moreso than the Gloria prequel fight. The interactions between the characters are genuinely cute, but this is the first time I’ve seen the overarching story get backseated this violently in Dendro.
Things do ramp up toward the end; Dendro always has to have a crazy fight scene or two. But as far as character development goes, it’s really only Figaro and Hannya who get it. We do get introduced to some new Dendro A.I. but we’re still kept in the dark; in fact, the prequel volume told us more than this one did! And as usual, we still don’t get to see any of Legendaria nor Ray’s sister.
I don’t know what it is, but this is probably my least favorite Dendro volume so far. It’s a cute little mini-arc that set some stuff up, but it’s been a long time since something intense happened. Something big needs to happen, and fast, or this great series could REALLY become the next SAO (and I mean that in a bad way).
My job will have fully opened by the time you read this, but at the time of this writing, it was only partially opened. This gave me the chance to squeeze in one more Western animated series while my shift is substantially reduced. But what to pick? Steven Universe was a very emotional show, and I’m still caught up on DuckTales and The Dragon Prince, waiting for new episodes. Since I didn’t find the CG of the latter to be so bad, I thought I would watch a more… (in)famous CG series: Rooster Teeth’s RWBY. Even from beneath the rock I’ve been living under, I’m aware of the heated debates that occur over this franchise. So, because I love controversial media (for some reason), I thought I’d give the show a whirl to see what the hubbub is about.
In the world of RWBY, people rely on some magic junk called Dust (which is basically Sepith from Trails of Cold Steel), and that’s their only way to fight these monsters called Grimm. One night, a girl named Ruby Rose takes on some criminals with a crazy scythe-gun, and is sought out by Ozpin, the headmaster of Beacon Academy. He decides that “you’re a wizard, Ruby!” and instantly bumps her into the prestigious school, two years in advance. There, she meets three more color-coded girls (her older sister, a tsundere, and an emo girl) and they go on adventures together.
Like with Dragon Prince, I must discuss the visuals of RWBY first and foremost. “The Dragon Prince looked great,” I thought. “RWBY shouldn’t be so bad,” I thought. Oh, how wrong I was. I understood that The Dragon Prince was made with the backing of Netflix, one of the biggest entertainment distributors in the world, and also five years after the premiere of RWBY. But even with that in mind, RWBY takes some time to get used to. While the character designs are fine, everything else about the visuals is horribly wrong. I complained about The Dragon Prince’s choppy and inconsistent frames, but RWBY showed me that the smoother framerates of its animations look more stiff, unnatural, and awkward than in The Dragon Prince.
Fortunately, the visuals improve substantially over time, with it finally looking legitimately good by season 4. The fight scenes in RWBY are when it’s at its best… sort of. The camera swings too wildly for humans to possibly keep an eye on, and it relies entirely on pure spectacle. However, as a fan of over-the-top battle shounens, I love it. The animation is at its most fluid and impactful here. Also, the show is truly anime for one reason: everything is a gun. Scythes, gauntlets, even suitcases; they’re all guns.
To be honest, the visuals served to make RWBY one of the funniest battle shounen I have ever experienced. The humor was legitimately on point in the show, and it wouldn’t surprise me if they had influence from the best of Weekly Shounen Jump. It’s the kind of stupidity that I’ve grown to love ever since I started reading manga all those years ago. The awkward movements made it even funnier for some reason.
However, despite the anime influences, RWBY is still a Western fantasy, and a modern one at that. And if you couldn’t tell, it is qualified to fall into the Harry Potter knockoff category. In the early seasons, the plot is mind-numbingly simple, with typical gag-shounen-meets-school-drama antics coupled with some YA awkwardness; a very difficult combination of tropes to get used to.
Being a modern fantasy, RWBY does another common thing: making its world an overly obvious mirror to our society, i.e. racism. The people who get targeted for discrimination are the Faunus. They are essentially furries, which ironically, adds another layer of social commentary. Anyway, the big problem with the Faunus is the White Fang, a terrorist organization that has resorted to rather… harsh methods of ending racism (which isn’t at all ten times more relevant in 2020 for any specific reasons). Honestly… I didn’t really care much for this line of narrative. It’s a topical topic for a reason, but this is one of the things I enjoyed The Dragon Prince for not having. I like adventure fantasies the best, and there really aren’t enough of them in this day and age.
Like any gag shounen, RWBY inevitably makes the transition to a more serious and plot-driven story. However, it’s not that simple. During production of the third season, the original creator of RWBY tragically passed away. The rest of the team has been carrying on with the series since, but it’s at this point where the show became the divisive debate-starting show it is today. It makes a transition that’s extremely risky for the genre: from gag shounen to straight-up seinen.
There are a couple of issues with this. One is that the transition is not at all organic. Normally, most shounen start out with short arcs, some of which last only one volume. Then, an arc goes for two volumes to make the reader think, “Finally, they’re actually doing something substantial with these characters and ideas.” Then, there’s an arc that’s really long and is generally considered the best, followed by a unanimously hated slog to the end. I get that not all battle shounen are like this, and RWBY definitely does not follow this pattern either (but in a bad way). There is a very visible instant in which the show completely changes with no build-up whatsoever: Season 3 Episode 6. After that, it packs on the emotional baggage to no end, and it becomes very hard to take seriously if you’re not super-emotional.
Also, Eastern angst and Western angst are two completely different things, and if you’ve read any of my YA novel reviews, you’d know I don’t entirely enjoy the latter’s company. While a lot of edgy stuff from Japan can tackle some uncomfortable themes with surprising elegance (Chainsaw Man, Torture Princess, Tokyo Ghoul, Monster, etc.), I’ve found a lot of the same from Western culture to be pretentious and heavy-handed. Additionally, some of the voice acting has enough gravel to pave a whole interstate highway. At the point I’m at, the few gags they do use feel jarring instead of something meant to break the ice. But in all honesty, it’s not terrible. The show is still enjoyable, and if I had liked the characters better, the feels would’ve actually struck a chord with me. However, due to the fact that it gets more and more controversial from here, I can’t guarantee that my opinion isn’t going to sway drastically in later seasons.
Regardless of the narrative, there is a somewhat great cast of characters to motivate you to keep watching. Each of the four girls are typical tropes: Ruby, ditz; Weiss, tsundere; Blake, YA protagonist; Yang, brash. But they all have genuinely good interactions with each other, and overall truly feel like a ragtag team of young’uns. They go through a lot of character development, even if it makes them come off as typical YA drama queens. Unfortunately, their fellow peers are similarly tropeish but with less… interestingness. A boy named Jaune is a typical underdog, a girl named Pyrrha is a typical hyper-justice-girl, a girl named Nora is Ruby but with a hammer, etc. Even when they all go through big emotional crises in season four, I didn’t care for any of the kids besides the four main ones.
However, the adults make up for it. My favorite character ended up being Ruby’s uncle, Crow. He’s your typical bad-ass, trollish, yet down-to-earth father figure guy, and it’s hard not to like him. There’s also a fast-talking professor named Oobleck, but he’s- sadly- a pretty minor character. Also, this one guy named James Ironwood has the best worst name (I’ll leave society’s many euphemisms to explain why).
I can’t say the same for the villains, though. As much the show really tries to do a moral ambiguity angle, the major antagonists fall under the typical Saturday morning cartoon villain category, at least up to where I’ve watched. This one swindler named Roman Torchwick is entertaining enough, but it’s not the case for the people he’s getting his fat stacks from. He reports to this woman named Cinder, who is literally Azula from Avatar. Her two minions, Mercury and Emerald, are just about as uninteresting. Cinder reports works under the true mastermind of the series, some alien(?) named Salem, but there’s not yet enough information to really say anything about her.
Before I get to my current score, I must clarify that I’m not criticizing RWBY because it stopped being what I wanted it to be; it’s just that the show felt more generic after the tone shift. I wholly understand that not everything can be original, but a lot of the content felt like it was ripped right out of How to Make Your Audiences Bleed Tears in Five Easy Steps with no finesse or variation. Compare the portrayal of the Faunus- which is the same exact allegory to American history that’s been done eleventy other times- to something like Eighty-Six. Both are commentaries on the exact same topic, but Eighty-Six does it in a way that feels much fresher than what RWBY does.
Television is also a deceptively limiting medium for visual storytelling. Once in a blue moon, you’ll have someone like Satoshi Kon who can do something interesting with film as an entertainment medium, but RWBY is not a Satoshi Kon film; a lot of it had bog-standard cinematography, such as those “hard-cut-to-black-with-some-kind-of-distressing-sound-effect-cliffhanger” techniques. I suppose I’ve been spoiled by manga, which have billions of combinations of panel layouts that all subtly contribute to the mood of a scene, or books, which can use the written word to at times convey more emotion than an image ever could. Also, Legend of Korra taught me that I should be examining television through an entirely different lens, as a lot of things I find typical are less common on TV. I’m even willing to bet that RWBY wouldn’t even have been allowed to air on network television, and could only exist as an indie program, for whatever dumb bureaucratic reason.
Current Verdict: 8.35/10
RWBY is a typical battle shounen in presentation and plot structure. It is great mindless entertainment, and I honestly don’t see why so many people take it so seriously. The food fight at the start of season two shows what I believe RWBY is at its best: over-the-top action with goofy slapstick. Unfortunately, I don’t entirely like the darker turn it took, mainly because it took it too fast. RWBY seems to be trying to be a fantasy epic on the scope of something like Trails of Cold Steel, but without the foundation that those games took time to build. Overall, the show is pretty middle-of-the-road, and I do not understand either side of the arguments with this show (but like I said, that could change). These seasons are stupid short, so I should be able to see RWBY through to the end without much hassle.
PREFACE: In case you do not already know, I should warn you the Trails of Cold Steel Franchise is explicitly designed to be played in chronological order. No, it doesn’t have a stupidly convoluted plot like Metal Gear or Kingdom Hearts, but this is nonetheless a direct continuation of the first game. As such, this review will contain unmarked spoilers of the first game. I will also not explain any basic mechanics of the first game, as you are expected to know already from playing it. If you are interested in this franchise, click on this link to read my review of Trails of Cold Steel I.
The Legend of Heroes: Trails of Cold Steel has its strengths and weaknesses, but overall, it was never meant to be a full game; no, it exists solely to lay down the groundwork for a truly epic tale, spanning four massive games. I was more engaged in the story of Cold Steel than any JRPG I’ve ever played, and it was definitely one of the best turn-based JRPGs in terms of gameplay. With that ridiculous ending- Crow being one of the main antagonists, mechs existing, Crossbell’s declaration of independence, mechs existing, Ouroboros and Fie’s old squad have been helping the Noble Alliance pull all the political strings, MECHS EXISTING- my body was beyond ready for the sequel. The first Cold Steel set the expectations, now it’s up to The Legend of Heroes: Trails of Cold Steel II, to meet said expectations.
When we last left our intrepid hero, Rean Schwarzer, he- in his mech, Valimar- was forced to leave his buddies in Class VII behind during a losing battle against Crow, the leader of the Imperial Liberation Front. A month later, Rean wakes up on a mountain range with Emma’s mysterious cat, Celine. Now it’s time for him to make like a battle shounen protagonist and pick himself back off the ground and find what’s left of Class VII!
Same World, New Problem
Immediately, the game starts off way sadder than Cold Steel I (even if the opening sorta ruins it a little by showing that EVERY student in Class VII is still alive). As soon as you start the game, the familiar title card appears dark, with the words singed by fire. A minor-key remix of the original game’s titlescreen music plays, and zooms in on Rean’s unconscious body. His voice actor sounds much more distraught than usual at first, and his portrait in the menu looks like someone who’s been through hell and back. Then, mere minutes after you find respite in his hometown of Ymir during the prologue, the town gets attacked. In most JRPGs, I’d say that an opening like this would constitute little more than shock value. But since this is a continuation of an existing story, it’s actually more effective, since you’re likely to be invested in the story if you’re picking up this game up after playing the previous one.
If you’re still new to the series, and you’re STILL reading this review anyway, I should SERIOUSLY warn you that the game basically gives you the finger for not starting from the beginning. There are two reasons why it’s seriously important to start from Cold Steel I, and the first of which is merely because it will be way too overwhelming if you don’t. The title screen does have a menu to read a recap of the first game, but honestly, the first game is so involved, you’d spend hours of Cold Steel II trying to memorize everything while trying to follow the present plot.
But even for a returning player, it can be confusing knowing who’s on what team. So here, I’ll remind you. The Imperial Liberation Front is in cahoots with Fie’s old jaeger squad, Zephyr, who both report to Duke Ceyenne, the leader of the Noble Alliance. Ouroboros is with them as well, but Sharon seems to be a double agent; someone on both our and their side. Vita, the sexy sorceress lady, seems to be in a third group, containing space wizards (or something) who’ve been working on a completely separate thing.
I pointed out that you need to keep in mind that Cold Steel I is the start of a larger story in order to enjoy it. In Cold Steel II, you need to keep in mind that it’s a continuation of a larger story. As a result, there are a lot of reused assets. While the world is big enough that you do get to visit areas that have only been mentioned, there are times where you return to old places. It really plays on your nostalgia bug, like at the start of chapter one, which has you go through a previous Field Study dungeon backwards.
Unfortunately, playing this game has kind of broken my immersion when it comes to Erebonia itself. Cold Steel I was split into multiple, self-contained areas, connected by long train rides. This was an effective way to make you use your imagination, and imagine the grandiose scope of the world. However, in Cold Steel II, you end up taking the roads that connect various areas in foot… and this is where the immersion breaks. It’s as soon as you set foot into Trista Highway for the first time that it’s made apparent; those train rides that took hours of in-game time were the alternative to roads that took minutes to traverse. It’s a nitpick, I know, but Erebonia definitely feels less Tolkienian since the world feels so much smaller now.
As far as the narrative is concerned, it’s actually… kind of lacking for a direct continuation, especially after an ending like Cold Steel I. Similar to how the first game’s purpose is to acquaint us with the world of Erebonia and all who inhabit it, Cold Steel II starts by reacquainting us with it, and seeing how much has changed as a result of the war. But even after the point where the story is supposed to ramp up, most of the game boils down to reclaiming areas from the first game, and gaining more support. It’s satisfying to do, but you don’t learn much about the core narrative, at least not until around the 75% point of the game, when it vomits information at you like any JRPG would.
The biggest issue with the narrative is that it never ends. After you defeat what is very much intended to be the final boss (which took me two and a half hours by itself because there’s, like, five phases), you end up playing a side section that serves no purpose other than to get players interested in another franchise set within the same universe (which, I’ll admit, was pretty darn effective, even if those games aren’t released in the U.S.). And then, you get an entire in-game day’s worth of content to do. AND AFTER THAT, the true final dungeon appears for no discernible reason. It got so annoying. The issue is that this game hypes itself up to be the conclusion of Cold Steel, and while it does a pretty good job at conveying that on an emotional level, it is very watered down by the known presence of two more games.
Same Faces… Plus a Few New Ones
Fortunately, there’s a surprising amount of stuff to learn from the characters. We get closer looks at characters like Claire and Sharon, and even deeper looks at the students of Class VII. I love them even more than I did before. To think that I brushed most of them off as bland anime tropes at first… that’s character development at its finest. I’ve grown so attached to them, that I even gave some of them nicknames, such as “Reany-Beany” and “Useless Jusis” (even though the latter is my favorite of the supporting male characters).
We also get more development on the antagonists, such as Crow. Plus, there are some interesting new antagonists with quirky personalities, such as the cocky yet socially awkward Duvalie, and the sleepy McBurn. Unfortunately, Duke Cayenne proves to be a pretty one-dimensional villain for the post part.
Unsurprisingly, Cold Steel II‘s graphics aren’t too different from the first game. I shouldn’t have expected them to be since it’s both the same system and the same world, but I still had to mention it. But one thing I didn’t acknowledge in my review of the first game is that a lot of the animations for attacks, especially S-Crafts, have aged very well. They look soooooooo animeeeeeee!
The soundtrack is also more-or-less the same. A lot of tracks are reused, but there are also some new, updated battle themes. Unfortunately, a lot of tracks overstay their welcome. One bad example is that there’s a point where you tackle four dungeons in quick succession, and music for all of them is some really grating opera. Furthermore, the previous game’s issue of “having the dungeon theme play over the battle theme because it’s INTENSE” comes back even more in this game. And similar to the other example, those themes get reused as well.
For the gameplay section, I will still split it into Daily Life and Deadly Life. But like I said before, I will go over mechanics as if you’re already familiar with the first game. I will also bring up the fact that this version of the game, Relentless Edition, SPOILS you. First off, the amazing Turbo Mode feature is still present. Second off, you get WAY more items in the DLC than last time, including 99 U-Materials.
Before we start, I must also bring up the other important reason to play Cold Steel I first. When starting a new game of Cold Steel II, you will be asked if you want to load Clear Save Data from Trails I on your system. Doing this will give you items based on Rean’s previous Academy Rank, and change dialogue based on various accomplishments, as well as the person you chose to dance with at the end of Cold Steel I (G.G. for anyone who chose Crow). It felt really satisfying to have my actions acknowledged, and it helped maintain a sense of continuity.
JRPGs Always Need an Airship
So, the first question I- and probably a lot of people asked- going into Cold Steel II was, “Without Thors, how’re we gonna have the same school mechanics?” Well, the answer is a minor spoiler, and one that is spoiled in the game’s intro at that. After a certain point, your main base of operations is on the Courageous.
But the problem with the Courageous is that it needs some help. Fortunately, scattered throughout the world are your fellow peers from Thors. Whenever you see them, it is encouraged to recruit them to the ship, as many of them unlock new facilities. Most of these are carry-over mechanics from Cold Steel I, so I will only discuss new things here.
For starters, there’s new training facilities. These are basically your Practical Exams from Cold Steel I, except you can do them whenever. They are split into Melee, Range, and Arts, where you are locked into using characters who are built around those fighting styles. The biggest issue with them (other than how stupid hard they get) is that you don’t get to prep anyone before the fight itself like you can in the first game. Furthermore, you don’t get to see the conditions until the battle starts, which can be annoying.
There’s also the new Triple Tri- I mean- Blade II. This game plays like the first one, but with meaner trap cards: Blast and Force. Blast Cards allow you to destroy a card in your opponent’s hand (but you can’t look at it), and Force Cards double your total. Even with how game-breaking these new cards are, I still lost 95% of the time because I suck.
Once you recruit Munk, you are able to bribe him to apply to radio contests on your behalf. There’s a cheap one where you win a modest prize, and a high-risk, high-rewards one. The results come in after five battles (excluding the training facilities in the Courageous), so make sure you use it before you go out into a combat area.
“Hey, Rean! Have you finished those errands?”
Quests are pretty much unchanged, except with the added feature of reporting manually by Skyping Olivert. And despite the hard times, people can afford to pay up. In addition to the usual rewards for completing a quest, you get a monetary donation for reporting it. There are still hidden quests, and they are sneakier than ever. Some require you to have or not have certain people in your party (but I have no idea if the game indicates it to you because I was always lucky enough to already have met the conditions).
But unlike the first game, you cannot miss ANY quests if you want to max out your Academy Rank. Last time, I missed three and still barely got it. But now, even after doing every quest (with the trophy to confirm it), I ended the game with only ONE excess AP. There is only a sliver of leeway, as I didn’t get all S-Ranks despite getting all quests. I guess some of them had more favorable outcomes and I didn’t realize it. Fortunately, due to the game’s circumstances, there are no exams this time! Yay!
You Never Have Enough Sepith in This Game
One thing I noticed in Cold Steel II was that everyone’s Arcus slots are still fully opened. But that doesn’t mean you’re out of the woods. In this game, you spend Sepith to UPGRADE your slots, and I blew through most of my DLC Sepith just to be barely close to maxing out one character. If you don’t do this, you can’t equip rare quartz. It’s annoying, but they had to change it up somehow. As a side note, you eventually get the ability to create EX Orbs, which are equipped to Valimar to boost its stats.
Wow, this game has an actual overworld!
The most standout improvement in Cold Steel II is the ability to go to older areas at will. The Courageous makes it really easy to do so, and you can leave from almost any point on the map. There are times where you will be asked for specific party members, but fortunately, summoning the Courageous from the overworld allows you to reorganize your team without having to leave and come back.
So, what did Cold Steel II do to replace the Old Schoolhouse? Peppered throughout the world are these strange shrines. Gameplay-wise, they’re the same as the Old Schoolhouse; do the floor, beat the boss. You can’t complete them at first, but you obtain bonus AP for knocking out what you can early on (plus they got good loot in them).
The whole Courageous thing is the best and worst aspect of the game. It does open up a lot stuff, and adds much variety when you’re running errands for people. One thing I noticed is that there aren’t as many hidden quests once you obtain the Courageous (in fact, I only had one in Act 2 Part 4 and one in the Final Act), which is nice. However, this new level of accessibility makes it so that you can get said missable items out of sequence. And it’s not based on the order that the areas come up in the story; for example, a single shop can have both the first recipe and last book chapter of that particular time bracket. As a result, I think I spent even more time repeatedly talking to the same NPCs over and over again than I did last time.
Saving the World? Nah, I’d Rather Fish and Cook
Cooking and fishing have both been buffed since last time. While fishing is mechanically unchanged, fishing spots get marked on the map after being used once, which is nice. And due to the ability to travel to older areas, you get a lot more respawning fishing spots that you can use. Unfortunately, this also means completing the fishing is a nightmare. In Cold Steel I, all fish eventually end up in Trista. However, that’s not the case here. Furthermore, the fishing locations don’t respawn as quickly as they should, meaning that you’ll need more groundbait than ever (or save-scumming) if you want to get all the fish… on top of having to try each and every location without knowing which one has a fish you missed. In fact, I resorted to looking up the fish just to save time. But hey, at least recipes are only cooked by one character now, which simplifies the process of getting a specific type of dish.
Nakama Power, the Most Important Superpower in Any Anime
Bonding Events are much more important in this game. While there are some Bonding Events early on, the bulk of them take place on Stopover Days that occur at the end of a chapter once you obtain the Courageous. Unlike the first game, EVERY party member, as well as Alfin and Towa, are available to spend time with. While you get more Bonding Points than last time, it’s not enough to make it easier to decide. “We’ll, it’s not gonna kill me if I don’t know EVERYTHING about EVERYBODY,” you think. We’ll, you might just want to save-scum to view every event, because Bonding Events have a new and trollish effect. Some SPECIFIC events will allow a character to learn new abilities earlier than they would’ve from levelling up, which is kind of annoying. I only saw one of these particular events, and the game doesn’t even tell you about them in the first place.
There’s also the case of Final Bonding Events. These are exclusive scenes between Rean and assorted characters towards the end of the game. In order to unlock a character’s Final Bonding Event, you must get their link level to its second-highest level, which is now six out of seven (technically, it only needs to be up to five and a half or so since finishing Act 2 boosts everyone’s links by 1000), as well as fulfill specific other conditions. You can also have Towa and Alfin in line for this, but you will need to do every single Bonding Event with them in order to be able to satisfy the conditions with them. Fortunately, the game will tell you when you have an opportunity to satisfy one of said conditions, which is something much appreciated that most JRPGs don’t bother doing. Also, once you recruit Beryl, you can use her services to confirm with whom you have met the conditions for. Unfortunately, when the time comes, you can only do one per playthrough, so save-scumming at that point is essential. It is also impossible to meet the conditions with everyone at once. This means that you will have to play through again in New Game+ to see everything (which you would’ve had to do anyway to complete the character notebook entries).
What is this, Sonic Adventure 1?
A new mechanic is snowboarding. Throughout the story, you unlock new courses to snowboard in. Beating these gets you great prizes, but like in any videogame, it gets really difficult late on. In addition to snowboards, you also get to ride Angelica’s bike. It can be used almost anywhere and greatly makes up for the lack of fast travel points on highways.
A Steep Learning Curve Just got Even Steeper
Here’s the final reason as to why Cold Steel II does not like newcomers: All the combat mechanics learned over the course of more than half of Cold Steel I… is taught all at once during the Prologue. So seriously… if you’re somehow still reading this and not familiar with the series. FOR THE LOVE OF AIDIOS, PLAY COLD STEEL I!
For returning players, this brings some immediate positives. In Cold Steel II, every character has all their Craft and S-Craft from the first game. Your Link levels are also higher at the start, with Rean starting at Link Level 2 with everyone. This at least makes it easier for returning players to get reacclimated to the game.
A new mechanic is Overdrive. Use this between a pair of Linked characters to give them a free heal, and a set of three free attack turns with no delay. This also guarantees Unbalancing. The gauge fills by doing things in battle, but it fills up much faster based on your tactical bonuses at the end of a battle. Unfortunately, only people paired with Rean can do it…
…at first. New to Cold Steel II are Trial Chests. These chests make a set pair of party members fight a tough battle. But as a reward, you get great items, a heap of Link XP for that pair, and unlock the ability for them to use Overdrive together. It’s a great way for characters that aren’t Rean to get large amounts of Link XP, since the bonding events from Cold Steel I kinda threw off the balance of everyone’s link levels (but it still ends up being way off-balanced).
Mech Battles Before Xenoblade X Made it Cool
My biggest concern when it came to combat was how Cold Steel II would expand on the Divine Knight (a.k.a. mech) battles. Introduced during the final boss of Cold Steel I, mech battles felt very stressful and iffy. Basically, mech battles were a game of rock-paper-scissors, where you had to attack a section of the target that was weak- the head, the body, or the arms. Attacking a weak point resulted in a crit, which allowed you to press X for an immediate Follow-up, and after obtaining three Bravery Points, you could use a powerful Finisher (basically an S-Craft). The catch is that the weakness changed based on the enemy’s stance, which resulted in having to memorize a lot of combinations. Attacking the wrong spot could result in getting the attack blocked, or worse, evaded. This, as always, gives enemies the chance to counter. You also couldn’t Impede attacks that enemies were charging up last time, even if you inflicted a crit, so you were basically screwed.
Fortunately, Cold Steel II greatly fixes some of these issues. The game adds a Defend command, which allows you to greatly reduce damage and recover a small chunk of HP. But one of the best additions by far is the fact they show the Unbalance Efficacy of each piece- in each stance- after you attack it once. THANK YOU.
Although Rean is on his own in mech battles, his buddies can at least help with EX Arts. Basically, you have another character who takes their own turn in the fights. When it’s their turn, you can have them cast some EX Arts, the nature of which are determined by the person. This greatly fleshes out the mech battles, plus every person has a charge function to restore Valimar’s EP (which doesn’t really justify the parts of the game where you wait for him to recharge…). You also have a Unity Attack that you can do with five Bravery Points.
Other Things to Keep in Mind
Rean also gets some significant boosts in this game. After a while, he is able to summon Valimar to regular battles for three turns, and is able to activate his Super Saiyan form at will. These can be very useful in some super-tough battles, especially if you play it on Nightmare difficulty.
One new feature is the optional bosses, the Cryptids. These enemies appear throughout the world after certain points in the story. Defeating them nets you a rare quartz containing a Lost Art. These Arts are really powerful, but consume all of a character’s EP. Fortunately, they are affected by the Zero-Arts turn bonus, which can seriously save your bum. I didn’t use them too often, but I imagine they are essential in Hard and Nightmare difficulties.
Either This Game is Hard… or I Suck
If it wasn’t obvious enough that this game alienates newcomers, they also make it much harder than Cold Steel I. I died way more often than before, and in this game I actually knew what I was doing. They really expect you to have mastered the turn order system, along with all the other mechanics, ‘cuz the kid gloves are off this time! The game also introduces a rare case of enemy attacks that ignore and remove all buffs, and some of these attacks happen to be their strongest attack. The Zeram Capsule + Moebius setup I utilized in the last game made its final dungeon a joke, but that same setup was a necessity in this game. If I hadn’t gotten forty of them as DLC, I would’ve been sunk.
Fortunately, I learned some important things about the series that I didn’t know last time. Stat changes do stack in Cold Steel, which I honestly should’ve noticed before. Also, Evasion is a broken stat in this series, especially if you give your most dodgy character (preferably Fie) the Wrath Quartz, which makes all counterattacks crit. I also had her paired with the Master Quartz, Mirage, which adds a good chance of evading magic. This game was my first time trying an Evasion build on a character; I’ve always prioritized defense in JRPGs in the past. Furthermore, Speed is immensely important, as it reduces characters’ Delay between turns, which again, is something I should’ve known last time.
Final Verdict: 9.5/10
Trails of Cold Steel II is a massive improvement over the first game in almost every way (except strictness, and knowing when to roll credits). At this point, I am hooked on this story and I fully intend to see it to its end (and pray that I get the True Ending of the fourth game). However, I am concerned about the third game. Based on the one thing I know about it, it feels like it will be a step backward for the series. Well, with my job opened back up, you won’t know how I feel about it for a while. Anyways, as far as recommendations for Trails of Cold Steel is concerned, I think it’s definitely worth giving a shot, even if you are uncomfortable with missing things. The game is good at letting you know when you’re at a cut-off point, making it a lot less stressful than most JRPGs.
Last time on Last Round Arthurs, Rintaro transfers to Camelot International High School, where he joins forces with Luna Artur to help her win the King Arthur Succession Battle. He immediately sees Luna’s Jack, Sir Kay, being used as an idol at the school, and it’s thanks to Luna- the student council president- that it could happen. This aggros the head of the Ethics Committee, Tsugumi Mimori, and the campus turns into an all-out battleground. After school, he meets her on the roof, where she lets him join her in the succession battle! The first thing they do is… break into their own school’s fantasy office to steal the answers to their midterms. But then, they’re attacked by the Ethics Committee, and someone casts a spell that sends them to the Netherworld. Luna summons Sir Kay, who goes off with Rintaro to find the spellcaster. They find Luna’s rival, Felicia, and Felicia’s Jack, Sir Gawain, waiting for them outside the school. Gawain beats Kay easily, but Rintaro is really confident that he can take on the knight. And guess what, Rintaro beats Gawain like it’s nothing, since Gawain is only at peak performance in the daytime (and it happened to be nighttime then). However, Felicia uses her Excalibur to create a dazzling light that freezes Rintaro and Kay in place, while giving Gawain his special boost. But then, Rintaro transforms into a mythic creature, which is apparently called a Fomorian (look it up). Rintaro is crazy powerful in this state, and thus Felicia undoes the Netherworld spell and flees with Gawain. Luna had apparently been watching the whole time, but surprisingly, she thinks the Fomorian transformation was super cool. Later, Felicia is attacked by the strongest candidate, Gloria. After selling some bread with a skimpy prize inside, Luna and Rintaro go out… on a date… and we learn of the real goal of the succession battle: whoever wins must stand against the Catastrophe, an event where reality and fantasy collide sometime in the future. But then, they stumble upon Gawain, who was fleeing from Gloria… a.k.a. Luna’s homeroom teacher, Mr. Kujo (and his Jack, Sir Lancelot)! He demands that Luna meets at the Central Park Hotel at midnight, or else Felicia’s life will be forfeit. While Gawain divulges his tragic backstory, about how his jealousy for Lancelot caused the fall of King Arthur, we learn that Rintaro is actually Merlin! Unfortunately, drama unfolds between him and Luna, and he quits being her vassal. Luna infiltrates the hotel with Kay and Gawain by her side. At the top floor, they end up in an illusory replica of Camlann Hill, where Kujo confronts them. Meanwhile, Rintaro has a talk with Nayuki, one of the girls from school, and learns that Luna sold her Excalibur as a bribe to protect her school from some corporation. Back at the hotel, when Luna is about to lose, Rintaro appears and hands over her Excalibur, which he stole from that company. He fights with Kay, Gawain, and Felicia to hold Lancelot and Kujo back while Luna charges up her Excalibur, but it gets ugly when Kujo wields his own, exponentially powerful Excalibur. But once Luna activates her Royal Road, based on trust between her and her vassal, it’s G.G. for Kujo. In the aftermath, Kujo awakens in a room with a strange robed girl (the same one who compelled Rintaro to join the battle in the first place)… who turns out to be Tsugumi, a.k.a. Morgan le Fay, the evil sorceress from King Arthur’s era. Meanwhile, Rintaro and Felicia’s teams form a truce for the time being.
This volume shows us a little more of the Dame du Lac, the organization behind the entire King Arthur Succession Battle. Since they created the Curtain of Consciousness that protects everyone from the illusory world, they kinda have authority over the whole world. But before we can ponder how likely they are to be totally-not-evil, our Motley crew is ordered to take out some Rifts in the Curtain.
We’re introduced to some new characters: Emma Michelle, another King, and her Jack, Lamorak. Emma knew Rintaro way back when, and she’s all over him. Meanwhile, Lamorak is literally Eris from Mushoku Tensei: red hair, loli, brash.
Most of this volume ends up being about Emma. Emma, Emma, Emma. The main conflict is not a bunch of deadly Rifts, but a shipping war, because EVERYONE loves those. It’s annoying, but at the same time, the antics that ensue are pretty funny.
But things ramp up in the volume’s second half. We get a ton of character development for Emma. Unfortunately, she ends up being another marketable waifu, but her character arc doesn’t quite resolve in the way that it usually does with girls like her. I can appreciate that much, at least.
Last Round Arthurs is still a great light novel, and more proof that there is a lot of good in modern light novels; they just don’t get anime adaptations. I’m very hyped for what this franchise has in store moving forward.
Her Majsety’s Swarm Volume 3
Last time on Her Majesty’s Swarm, Grevillea decides to infiltrate the Dukedom of Schtraut. With a Masquerade Swarm by their side, they head into Marine, the first city in Schtraut, disguised as refugees from Maluk. Their investigations show that Schtraut and Nyrnal don’t see eye to eye, and that adventurers are being sent to spy on Maluk. They join a guild to form connections. Eventually, Grevillea is invited to a party by Count Basil de Buffon. At the party, they have a run-in with a whiny noble, after which the Duke of Schtraut, Caeser de Sharon, appears. Serignan lures him over to Grevillea, who straight-up tells him that she was the mastermind behind the Maluk incident. They talk, and she tries to persuade him to let her Swarm through Schtraut to invade Frantz, and that she’ll defend his country during the inevitable war with both Nyrnal and Frantz that’s about to unfold. He leans toward her proposal, and even has her attend the International Council as a noble of Maluk… or rather have Maluk’s princess attend while controlled by a Parasite Swarm. The politics go as planned, and while the different countries are bickering, she’ll destroy them both. In order to stand up to the new threats, Grevillea makes some new heavy artillery. Meanwhile, Caesar forms an alliance with the Arachnea… if he wasn’t impeached by Leopold de Lorianne, the same mud-slinging S.O.B. from the party. Now, they have to fight Schtraut straight-up. They arrive in Marine, which has been completely destroyed. Out of a bizarre sense of respect, they harvest their bodies as meat for the Swarm. They destroy some peeps, but Grevillea ends up drinking poisoned well water, and wakes up back in the real world. She plays the game for a while, but ends up wanting to go back. Some girl appears, saying that the other world is a Devil’s Game, and swears to save Grevillea from it someday. She returns, and takes a while to remember everything. After that, they continue to destroy, further reducing Leopold the whiny noble to tatters. An army led by his younger brother, Roland, attacks next, but they too are quickly destroyed. Roland hates what Leopold did, so Grevillea offers to make him a Swarm to exact revenge. Meanwhile, Leopold’s last ditch effort is to get the Swarm on the bridge to his base, and blow it up with them on it. Fortunately, Roland knows how to steer a ship, and by extension, the Swarm now knows as well. With this, they are easily able to invade the city. They make their way to Leopold, but a basilisk comes out of the wine cellar! They destroy it easily, and proceed into the cellar to find him cowering in a secret room. Grevillea uses a Parasite Swarm to make him destroy himself. But then, she ends up back in her “room” again. That girl is here, and her name is Sandalphon. Another girl, named Samael, appears as well. They argue, and imply that Grevillea did something in her human life that resulted in her having to be judged in the game world? Well, whatever, she goes back and everything’s fine.
This latest volume shows that Her Majesty’s Swarm may be starting to enter a rut. Similar to the previous volumes, we are introduced to a new character whom Grevillea hits it off with, but then bites the dust. And just like the previous two times, she becomes a sociopath almost instantly. It was cool at the beginning, but when you have three red shirts pop up three times in a row in similar circumstances, it gets harder and harder to take seriously, kind of like Goblin Slayer.
But hey, at least sociopath Grevillea is the best Grevillea. With her sights set on the Popedom of Frantz, she’s just as conniving as she always is. The volume really ham-fists how corrupt Frantz is, and some of the things they show are pretty brutal. The plot thickens even more as far as the reason why Grevillea is in this world is concerned.
Currently, this is the shortest individual review I have ever written. I’m sorry, but I can’t say anything else about this volume of Her Majesty’s Swarm without spoiling stuff, and even then, it would be difficult for me to make this post more verbose. This is one of those franchises where it’s kind of the same thing over and over again. This isn’t the only case, but others at least have some variety that warrants discussion. Her Majesty’s Swarm has next to no variety as far as content is concerned. It’s going to need to answer some of the questions it asks fast, or else there’ll be some trouble.
The Invincible Shovel Volume 2
Last time on The Invincible Shovel, the legendary miner, Alan, saves a princess named Lithisia using the power of his shovel. According to her, a demon named Zeleburg is threatening to take over her country. The only way to fight him back is to recover the seven Orbs, so the two of them set off to grab them. On the way, they run into Lithisia’s incapable bodyguard, Catria. But she attacks Alan, so he puts her in a hole. He convinces her about his shovel by beating her, and a team of thirty other knights, with it… and thus, she joins his party. They arrive in an elven forest that’s been ravaged by Dark Beasts, and Alan saves an elf girl named Fioriel. She’s a descendant of an old friend of his, so he helps her, which takes only thirty seconds. He also whips up a massive fortress to protect the forest. After that, Fioriel becomes Lithisia’s friend. But they leave her alone in her castle so they can go through their first dungeon: the Ancient Castle of Riften. Thanks to some extensive info gathering and remodeling, they have an easy time reaching the Blue Orb. After the boss, Alice Veknarl, flees, Alan swipes the orb and destroys the castle after they leave. She attacks again, but Alan captures her easily. After some torture, he saves her from the demon’s curse, and she tags along. Now their next destination is the desert! They head to Desertopia, where Alan saves a space girl named Julia, who has water powers. When discussing her backstory, Alan surmises that her ritual was sabotaged. When they get to her village, Alan attacks the village elder, who turns out to be a Doppelganger working for Zeleburg! But of course, Alan takes care of it, and gains new followers in the process. They infiltrate the pyramid easily, but have to contend with the dragon. Alan defeats while nearly destroying the universe. With the Red Orb in hand, the motley crew looks toward a neighboring country where they can spread Lithisia’s cult religion…
Today’s next victim is the Ice Nation of Shilasia. It doesn’t take long for the story to immediately bury itself in its shovel memes. And guess what, it gets even deeper. In this volume, Alan digs up an international embassy, a house made out of avalanche, rewrites the law, and more.
We are also introduced to a character who- finally- is about as good as Lithisia. The latest beholder of Shovelism is the Ice Sage/Witch, Riezfeld. She’s a riot. Riez has a massive ego, but it gets buried deeper and deeper every time Alan performs one of his massive feats. Like everyone else, she just has to accept that he’s too powerful. Another new face is Lucrezia, a young noblewoman. Unfortunately, she’s not as likeable as Riez, which stinks, because it looks as if Riez is a one-off character for just her specific arc.
Other than that, it’s the same shovel antics as usual. This is exactly what I was worried about after reading the previous volume; that the series would get extremely repetitive. Plus, it gets harder and harder to suspend disbelief over the ridiculous things that Alan is capable of. It’s not stale yet, but that entirely depends on how much longer it’s going to go.
The Invincible Shovel is still a fun, mindless screwball comedy. Lithisia makes the story pop, as always, and overall it’s very funny. Let’s see how long it would take for it to overstay its welcome.
PREFACE: This manga is a sequel series. As such, there will be unmarked spoilers of vanilla Levius in this review. Click this link to read my review of Levius if you are interested in this franchise.
The sci-fi boxing manga, Levius, proved to be a hidden gem. With its cyberpunk themes, and phenomenal art, I was hooked from start to finish. But the story’s only just getting started. In Levius/est (published in English by Viz), we get into the real meat and potatoes of Levius.
Set a year after the titular character’s battle with A.J., both people are hospitalized. But that’s the least of their issues; the return of Amethyst has caused a huge change in the world at large. War is on the verge of breaking out, and as a result, steam technology is banned… except in the Mechanical Martial Arts Ring. As such, whoever wins the Grade 1 bracket that Levius is now in… gets to decide the fate of mankind.
Right off the bat, Levius/est gives us much more context for, well, everything than the original series ever did. In addition to starting off with a more detailed flashback of Levius’ tragic backstory, we also get an explanation of how the steam technology actually works, as well as more information about the war. It helps flesh out the world of Levius a lot, and it’s very appreciated.
But as far as boxing goes, the first couple volumes of Levius/est are in the designated “drama” segment that comes before a lot of the fighting. Fortunately, this gives us a big chance for some major character development on Levius’ part. But sadly, this doesn’t really help offset his trope-ish, “dark and disturbed” personality.
Sadly, the other characters aren’t so great. Zack is still the same old drunkard. Meanwhile, A.J. ends up becoming a classic amnesiac (which, thankfully gets resolved pretty quickly). There are some new additions, one of which is arguably the worst character in the series: Natalia Cromwell. I don’t remember if they foreshadowed her, but she’s apparently Levius’ childhood friend, who gets taken in by Zack, and wants to become an M.M.A. fighter like Levius. If you couldn’t tell, she loves him, and gets friendzoned. While she’s cute as all heck, her personality adds a lot of out-of-placed humor to Levius/est, and also forms a rather annoying love triangle between herself, Levius, and A.J.
Another new face is Oliver G. Kingsley, the current champion of the M.M.A. Since he’s the champ, he’s incredibly important in the overarching narrative of Levius as a whole. But as far as personality is concerned, he’s a pretty typical “boxing champion”, i.e. a jerk. The real clincher, however, is that we finally get to see A.J.’s brother in action. And as you can expect, this helps launch the story into high gear.
As to be expected, the art of Levius/est is fantastic. The fights are spectacular, and the closeups are wrought with sheer emotion. The panel flow makes it fun and engaging to read as always, despite the reverse order of the pages.
Current Verdict: 9/10
I sounded like I was complaining a lot, but honestly, in terms of sheer entertainment value, Levius/est is looking to be the best cyberpunk manga since Battle Angel Alita. Sure, it’s edgy, and has some bland characters, but the series as a whole oozes a unique personality that makes it stand out. I recommend it to any boxing and cyberpunk fans.
Weekly Shounen Jump manga often get bashed for being the same thing over and over again, with a different coat of paint. But sometimes… sometimes, a Jump manga will attempt to break free of the mold while still embracing the core values of Jump and its demographic. The Promised Neverland (published in English by Viz), is one such manga.
The children of Grace Field House are as happy as can be, living under the loving eyes of their caretaker, Isabella, while waiting for their adoption. It’s just a bit weird that they have to take tests, and that they have numbers tattooed onto their necks, and that the house is surrounded by walls, and that they never hear from the kids who go out to get adopted… Yeah, something’s off with this place, and the ones who find out first are the three smartest kids in the house: Emma, Ray, and Norman. What they find out is that the kids are all livestock being bred for consumption by a race of terrifying demons. Naturally, they put on their thinking caps and figure out how to get everyone out safely.
So, in short, The Promised Neverland is amazing. Instead of screaming “FRIENDSHIP!” and brute forcing their way out, these kids have to use their wits to fight, or- more often than not- strategically retreat from combat. It is incredibly suspenseful, with new plot twists waiting just around the corner. It is amazing how it’s able to capture that familiar Jump feeling, while exploring uncharted territory for the magazine.
However… small spoiler: the escape from Grace Field House is only the first arc. After this, we begin to find out about the world that The Promised Neverland is set in, and it only gets more complicated from there. I know that critics have exclaimed that the whole story goes to sh** from here, as it becomes more about figuring out what the hell is going on than about conducting stealth operations. And to be honest… I kind of felt the same way for a while. The manga was still good, but it didn’t have that magic from the first arc.
Fortunately, things pick up when it enters its climax. Once the puzzle pieces finally start fitting together, it becomes just about as intense as it was at the beginning.. It’s a real shame that you have to go through a pretty big chunk of inferior content to get there, but if any part had to suck, be glad that it’s the midway point! There’s no doubt that critics hate the ending, but that’s to become expected of pretty much any Jump manga, especially a popular one like this. As far as most manga go, The Promised Neverland feels satisfying enough, as far as resolving plot threads is concerned.
As for characters, er… this is where The Promised Neverland is at its most Jump-like. Even though Emma is among the smartest kids from Grace Field, she’s about as abrasive and reckless as any Jump protagonist. Fortunately, Ray and Norman are much better and smarter than her. The biggest problem with the cast is that it gets pretty large over the course of the story, with some minor characters not being that memorable. There are even a lot of characters whose names I can’t remember.
The art is what brings it all together. The Promised Neverland is drawn in an elegant, storybook-like style that can go from beauty to terror rather quickly. The designs of the demons are phenomenal, even if a lot of them look the same. The panel flow is also a key factor in building suspense; something that the anime sadly lacks due to the nature of its medium.
But if there’s any truly divisive flaw with The Promised Neverland, it’s Emma. If you couldn’t tell from this being a Jump manga, she’s a bit of a Mary Sue. Late in the series, it becomes really easy to succeed in the ultimate goal, except that it involves committing xenocide on the Demons. Since she’s such a good person who’s willing to forgive an entire race that’s indiscriminately bred and eaten human beings, she jumps in (or Jump’s in, rather) and tries to offer a more hunky-dorey solution. I’ll admit, it’s annoying, but hey, I also like lighthearted junk at times.
Final Verdict: 8.9/10
It’s not perfect, but The Promised Neverland is a great manga; definitely one of the better ones in recent days of Jump. It genuinely tries to do something that isn’t mere pandering to testosterone-y boys (like Kimetsu no Yaiba), and while it stumbles, it definitely succeeds to some extent. The manga truly has its own identity. I recommend it to any shounen fans who want something just a tad different.
I have a confession to make. Steven Universe, which I only finished just recently, is the first Cartoon Network show I have ever watched. I never watched Dexter’s Lab, Powerpuff Girls, Pickle Rick… nothing! I didn’t even watch anime on Adult Swim. So, with that out of the way, let’s check out Steven Universe!
It seems that Steven Universe just throws you in, right from season one, episode one. Basically, the titular Steven is a half-human, half-gem-boy; a product of his late mother, Rose Quartz, and this fat old guy named Greg. He lives with three gem ladies- Garnet, Amethyst, and Pearl (AND STEVEN! Sorry… had to reference the opening)- and they protect the world from monsters and stuff.
If you couldn’t tell, Steven Universe is confusing. In my process of watching the show, I realized that the episodes seem famously difficult to watch in chronological order. The episodes weren’t just aired slightly out of order, but streaming services additionally have a number of massive continuity errors with the way they’re listed. Fortunately, the wiki has an episode list (in addition to a very comprehensive Reddit post) that you can use. Hulu is by far the best place to watch it, because it has the episodes listed individually, and not in two-episode sets, which avoids a bulk of the ordering issues.
But even if you watch it in the proper order (which I presume I did?), it really does throw you right into everything with no context, like I said before. Speaking of context, it’s almost as if the show expects you to figure out what’s going on THROUGH the context of what happens. I feel like that’s too much of an expectation for a cartoon, especially since 2010s cartoons have more involved narratives. But hey, the first few episodes do a good job at establishing a basic aspect of the premise, and how the series works in general.
Disregarding the confusion with the watching order, how good is Steven Universe anyway? Well, for starters, it is perhaps the slowest burn that I’ve seen in a cartoon. The first season more or less has all my problems with season one of Avatar: The Last Airbender; a lot of self-contained narratives, and not a lot of core narrative. The first episode set with a real sense of plot progression is episodes 25 and 26, but after that, it’s business as usual for a while.
One thing I noticed in Steven Universe was that I didn’t exactly find it funny. A lot of the humor, other than stuff from the gem ladies, is kind of flat. Apart from a couple of blips of cleverness, I didn’t exactly laugh all that much. But maybe… the show was not meant to be funny.
The big surprise is that Steven Universe has a bizarrely engaging core narrative. When the show actually tries to ramp it up, it’s a darn good time. There’s a lot of interesting stuff that they build up to when it comes to Rose Quartz’s backstory, as well as the lore of the gems themselves. The show also builds a more and more involved narrative over time. My biggest problem with it is that the gem world ends up being this super-dystopian society where there’s no free will, and they end up being all like “Wow, Earth and humans are so special and wonderful, my world sucks!” It bothered me as someone who doesn’t want to believe that humanity is unique in the cosmos, but in the end, it’s not that big of a deal.
Steven Universe also tackles one of the most relatable themes in human existence: identity. The most interesting mechanic of the gems is their ability to fuse with each other, creating new and powerful gems with their own fused personalities. In addition to that, Steven is technically his own mother, whose past ends up getting… rather tumultuous. Plus, there are multiple of the same gems that exist at one time. The show begs asking questions about “what is the self” and all that pretentious junk, but Steven Universe kind of just shows the fusion for what it is instead of waxing its own poetic.
More than in any cartoon I’ve watched, I was seriously caught off guard by the characters. Steven starts off as your typical, overly-optimistic kid. But after a while, he ends up involved in some of the best and most emotional scenes in the series. However, he is kind of a Gary Sue. One running theme with the show is that he resolves a lot of conflicts verbally. While it does fit with the core themes of the story, as someone who had finished Kimetsu no Yaiba– with its overly righteous main protagonist that everyone, even his enemies, loves- I was a bit bothered by Steven when he’d wax sentimental mumbo jumbo.
Steven’s father, Greg, is also a great character who’s constantly had to live with the loss of Rose Quartz. The lead female human is a girl named Connie. She initially comes off as that “outcast girl who has the main character walk into her life and BOOM! all girls want to be her”, but her relationship with Steven is a lot cuter than that contrived romance. She ended up growing on me more than I thought she would. There are also a wide variety of other townsfolk, from Ronaldo the conspiracy theorist, to the enigmatic Onion, who all have memorable personalities.
But the real gems of the show are, well, the gems. Pearl seems cool and collected, but she has some serious O.C.D. Amethyst is the fun, rambunctious one who also happens to be an outlier of the trio. And Best Girl Garnet is very deadpan, but sometimes has some of the best one-liners. However, underneath their hard outer shells (pun intended) are some surprisingly well-fleshed out characters. They go through some serious issues, and unlike other cartoons, it actually felt engaging to, well, engage in their character arcs.
But they’re not the only gems. After season one, we see some new faces, such as Lapis Lazuli and Peridot. Lapis is kind of the tortured waifu who needs to be taught happiness by the main character, and is probably my least favorite gem. Peridot is a typical tsundere, but it’s funny to see her misinterpret aspects of human culture. There are many other gems, but. I won’t mention them because they don’t show up until over halfway through the story.
When it comes to visuals, Steven Universe is very appealing. The fights are well-animated, and everyone has memorable character design. The one complaint I have with this aspect is that people’s nostrils look kind of like slits instead of nostrils. But hey, a nitpick is a nitpick.
And speaking of nitpicks, I’m about to destroy my reputation in one fell swoop. Steven Universe has a good amount of musical numbers. And to be honest… I’m not a big fan of most of them. I know I just said something awful, but hey, I said “most”. There were a couple of songs that I liked, but I won’t name them, specifically because I don’t know what any of their names actually are (for the record, at least one of the songs I do like is the fan-favorite in the series).
But if you noticed the title of this post, you’d know that Steven Universe is not over, even if you finish the final episode of the main series. Set two years after the finale (and thanks goodness it is; Steven’s voice doesn’t sound whiny anymore), Steven Universe: The Movie initially comes off as cash-savvy filler, but has just as much plot relevance as the main story. Overall, it’s a fun movie that also has some of the better (and more abundant) musical numbers in the series. It can theoretically be skipped, but one of its characters appears late in Steven Universe Future, the concluding mini-series of the franchise.
Following the movie, Future attempts to bring final closure to Steven’s character arc, and teaches a number of additional life lessons. It tackles a lot of his emotional insecurities as his powers start becoming as unstable as his mental state. It starts off kind of hit-or-miss, but it ramps up to the highest emotional state in the entirety of the series. It’s kind of stupid that (at this time) the only way to watch Future all the way through is to buy it on Amazon Prime Video, but it’s well worth spending, provided that you sufficiently enjoyed the main series.
Final Verdict (Average of all Media): 8.5/10
Normally, I cannot stand narratives that deal with timeless, “relatable” themes like growing up and identity. But Steven Universe tackles them in a thoughtful and honest way that isn’t merely just mooching off of people who want to see themselves in a fictional setting. I’ve grown to be able to respect Cartoon Network because of their willingness to air a show like Steven Universe. And if it weren’t for the end of COVID-19, I probably would’ve tried watching stuff like Rick and Morty. But alas, it was not meant to be; TV isn’t my primary calling after all. Anyways, I recommend Steven Universe to those who want a different cartoon, one that isn’t there just to numb your children with fart jokes.
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.