Site Reviewer Recruitment Drive - Apply Here!

[VivisQueen]

Welcome to the site reviewer application thread!

Before submitting reviews below, please read the Helpful Guidelines. Wondering what the recruitment drive is all about? Go here.

Remember:

* Submit two (2) reviews, each of a different anime
* State at the top of your post which two anime you are reviewing and the overall rating you have given them
* Reviews must be in the site format i.e. with sections labelled Story, Animation, Sound, Characters, and Overall

Following receipt of your application, site admin and site reviewers will discuss your application and come to a decision. One of the site reviewers will contact you to inform you of the outcome shortly after.

Good luck!

[babyeinstein12]

Hi! It's babyeinstein12, a relatively new member of the anime world yet someone completely willing to write about it! Here are my takes.

La Corda d'Oro (Overall Rating: 5/10)
Tales from Earthsea (Overall Rating: 8.5/10)

La Corda d'Oro

Story (3/10)
So how often do we hear "shoujo" and "classical music" uttered in the same sentence? Both entities dwell in vastly different realms of substance, media, and mind, and after watching La Corda d’Oro, I am convinced that it should stay that way. For the average shoujo-loving viewer, this series will be nothing more than a delicious catalogue of hot guys (who, as a side note, all happen to play instruments, but that doesn’t really matter). For the classical music junkie, it will twist a dearly beloved genre of music into something more akin to bubblegum pop.

Kahoko Hino, a regular high school sophomore, stumbles upon a fairy, receives a magic violin that anyone can play, and promptly finds herself in the school’s prestigious music performance competition. Throughout the next twenty-five dragging episodes, she gets to know her handsome competitors even while she confronts jealousy and sabotage. She also struggles to cope both with her unfair advantage, and her lack of skill. Sound interesting? It’s really not. Hino meanders along in a romantically drugged haze, and the show quickly tires with its loose plot and lackluster characters.

For those who enjoyed the masterpiece that is Nodame Cantabile, I urge you take strong precaution with La Corda. Within this sissified, sugared depiction of a rich Old World tradition, one will be acquainted with more sparkles than musical notes, with more tantalizingly open collars than instruments, with more bishonen than genius composers, and with more squeal moments than enriching tapestries of an underappreciated art form. Well, perhaps the intent of La Corda has always been more about pleasing female viewers than educating them. But even the series’ shoujo elements, while carried off in an aesthetically pleasing manner, hold the dangerous risk of leaving even the least discerning fangirls unsatisfied.

Of course, virtually all slice-of-life shoujo anime treads that fine line where filler and plot happily blend together. This is no exception with La Corda. Actually, the show benefits from an overarching premise with its four-round music competition; the viewer is able to see how Hino grows as a musician throughout the months that the competition spans. However, instead of shaping the competition as an integral plot device, the anime takes a form more similar to a stock chart – moments of brief culmination at the competition rounds that give way to plotless lulls. The relationships that are formed remain hopelessly one-dimensional. The drama so integral to a shoujo is, in a word, nonexistent. The conclusion is slapdash, leaving absolutely no closure.

In short: this series falls short in its role both as a showcase of classical music and as a shoujo anime.

Animation (8/10)
La Corda d’Oro makes fine use of color shading, which owes to its soft, pretty look. The backgrounds are not particularly detailed, but that does not mean they are simplistic. Actually, the pastel-like texture combines nicely with the still clearly definable lines.

Most of the energy, however, is spent on its plethora of close-up face shots, which, while unneeded, becomes an integral method for retaining viewers. Shiny lips and smooth skin run unbounded in this anime. In fact, everyone’s skin is so smooth that they all almost resemble porcelain dolls. In my opinion, this is the show’s greatest strength – the men are positive drool-mats, even if they are shallow and indecisive to a one. The prospect of impending eye candy is the thing that kept me watching, at least. Unfortunate, but true.

Sound (7/10)
For an anime that is supposed to emphasize the “heart” of classical music, it hardly presents the best of what the genre has to offer. From countless Ave Marias to Chopin clichés, much of the featured pieces take the form of generic favorites, utilized more to elicit the “Hey, I know this!” than to actually freshen up an old form of music. What’s even sadder is that half of the time, they muddle up the titles. On the other hand, the music composed specifically for the anime boasts an inexplicable yet noticeable charm. I did not get tired of the background music; instead, I actually wanted to hear more.

The Japanese voice acting stands out not so much for how they were performed as for who were performing. Each seiyu speaks with a unique tone that supplies their respective characters with individuality. I especially loved the trumpet player, because Masakazu Morita voiced it. Contrarily, I found the cellist’s voice annoying, because it only slowed up the already sluggish pacing. Whether I love a voice or hate it, La Corda succeeds in this aspect because the variety of lilts all so greatly help define a character’s identity from the others.

Characters (2.5/10)
As with any reverse harem anime, the male cast becomes vital to La Corda 's survival. Each typecast is faithfully administered, from the cold prodigy to the friendly jock to the heartwarming nice guy. They fling into the mix the ever-popular “angel of light” who happens to have a dark side, as well as the aloof cutie pie. It’s as if nothing could go wrong with this tried-and-true arsenal of bodacious boys.

And yet, things do go wrong. Instead of the guys coming into their own, they dig deeper and deeper into their preprogrammed personality modes. As a result, their bonds with Hino never grow. For example, the icy, talented Tsukimori continues sawing away at his violin, forever out of reach. The cheerful Hihara’s conversations never evolve past small talk. One could forget that the sleepy, supposedly endearing Shimizu even exchanged words with Hino on more than three or four occasions. At the end of the series, Hino’s friendships with each male do not seem to have expanded in any dimension.

This is not to mention the utter tedium that is the protagonist herself. Hino seems an affable girl in the first episode, yet as the anime continues, she judders into a completely static character, never progressing beyond the spouting off of pleasantries like “Oh, Hihara-kun!” or “I am going to try my best!” Then, to make things even more irritating, everyone begins to crush on her. Nothing connects.

Overall (5/10)
Evidently, La Corda's superb animation and well-gauged voices somewhat recompense the poor storyline and even poorer characterization. The series as a whole teeters on a very precarious edge, and in my opinion, it all boils down to a matter of taste and a reason for deciding to watch it in the first place. Even then, it doesn’t take a genius to figure out that La Corda d’Oro is firmly planted within the ranks of the utterly mediocre.



Tales from Earthsea

Story: 7.5/10
When Miyazaki Goro’s anticipated debut film hit the screens in 2006, much of the reception was lukewarm, and even a bit unflattering. Let me tell you this: Don’t take those criticisms seriously. The problem was that many of the reviews judged the then newest Ghibli film as just that – a Ghibli film. Young Miyazaki was unable to escape his father’s shadow (not unlike his film’s protagonist,) and his ambitious work ended up the undeserved target of many preconceived expectations. Tales from Earthsea is a far cry from the typical family-friendly flight of whimsy that characterizes most Studio Ghibli films, but while considered a studio “disappointment,” it remains a movie that can stand quite well on its own, thank you very much.

True, Tales from Earthsea is not a movie for kids. Nor is it a movie tailored for those simply “in for a nice time.” It is an unpretentious work with an unpretentious story, but a lot is said. Unlike Miyazaki Hayao, Goro’s narrative is driven more by mood and character than actual plot, though father and son align in their ability to convey something to their audience.

Prince Arren, a troubled teenager and runaway, finds himself unwittingly caught in an evil scheme that has been throwing the world of Earthsea out of sync. In the midst of such troubles, he gains friends, traverses the countryside, hides from slave traders, and delves into the meanings of life and death. It is by no means a swashbuckling adventure, but is instead a series of thoughtful portraits in which Arren comes to learn about himself and the way he views the circumstances around him. Miyazaki Goro clearly has something to say through this movie. I found this quite arresting, and it left me thinking long after the film had finished.

Compared to the charms of other Ghibli films, Earthsea promises a very different kind of magic. The fantasy surrounding the land of Earthsea is presented in a way not dissimilar to Lord of the Rings or Harry Potter: Its tone is much airier than those of the elder Miyazaki, the landscapes are distinctly un-Japanese, and all in all, there is just something sweeping about the whole thing. Perhaps not what every anime fan is looking for, but when coupled with its not-as-flashy story, it becomes a unique, and quite memorable, type of fantasy.

This isn’t to say that the story is without gaps and flaws. As a matter of fact, there exist a few moments where motives and actions do not connect adequately, leaving the overarching story less convincing than it could have been. Some plot occurrences are unneeded, while others are left unexplained. Nevertheless, its theme on the dynamics between life and death hits hard. The climax, while lacking a sense of urgency, is ethereal and grandiose, and then cascades into a quiet, satisfying conclusion.

Animation (9/10)
One can easily detect the classic “Ghibli style” in Miyazaki Goro. Like its story, the animation and backgrounds are unpretentious, uncluttered works of art that serve their purposes well and add to the fresh, “open” feel of the film. What drew me in the most were its vast landscape designs. With such breezy, sun-tinted oceans, desert seas, broad mountain ranges, and windblown grass fields, I felt a strong desire to step through my computer screen and actually experience the sensations that the scenes so strongly elicited. The characters are drawn in an uncomplicated manner and yet exhibit a cleaner, more detailed polish than earlier Miyazaki counterparts.

Sound (8/10)
Let me just say that the music is absolutely, unequivocally beautiful. Its exotic harmonies and sweeping symphonic elements truly bring the world of Earthsea to greater life. Some main themes were used rather repetitively, yet they were so exquisite and full of imagery that I hardly minded. I particularly liked the more folksong-like piece that makes a poetic appearance sometime in the second half, sung by Therru, the heroine.

The voice acting is well done. I was above all struck by the voice for Cob, whose low, musical murmurs captured his mystique and lent to an odd kind of hypnotism that was fascinating to hear. The others’ voices, while performed persuasively, were generally unremarkable in timbre. It was only Cob’s voice that stuck in my mind.

Characters (8.5/10)
What the film might miss in plot it almost completely makes up for in the multifaceted characterization of its protagonist, Prince Arren. It is the boy’s realizations of life, death, and himself that largely constitute the story as a whole; throughout his journey fraught with guilt, doubt, and fear, he is able to strike a deeply familiar chord with many viewers. Seemingly crushed by the irrevocability of one day dying, Arren copes with the meaning (or meaninglessness) of life. His development throughout the film makes it easy for viewers struggling with similar problems to reflect and journey with him. The impact of such a dynamic evolution of character cannot be denied.

Many of the other characters initially appear to fit into one-dimensional frames. Some of them remain so, while others grow into themselves. Sparrowhawk remains the stereotypical wise wizard, Tenar the supportive and strong female adult ally. However, Therru transforms from a lonely girl into a vital part of Arren’s self-realizations, and the greedy, evil Cob is not without his share of vulnerabilities. The only disappointing character is the annoying, broad-faced slave trader lackey who repeatedly fails in his attempts to apprehend Arren. His presence is merely a bad aftertaste that pops up over and over again as a device to tend to the rather forced undercurrent of suspense throughout the first half.

Overall (8.5/10)
In my opinion, the critics who have trashed this majestic film are merely failing to come to terms with their own presuppositions. Of course, no one can call this piece flawless. Yet I see in the film a young director’s immense potential, as well as a stunning individuality that went by duly unappreciated by those who merely desired to see an unoffending successor to the Ghibli tradition. The future looks dim for this underrated movie, and to be honest, this saddens me. I am not afraid to admit that I am completely taken with Tales from Earthsea: with its style, its aesthetics, and most especially its characterization. It has carried me upon wild wings of rhapsody. I know this sounds cheesy, but it really did.

[sothis]

holy shit, someone besides me that liked gedo senki!!! (did you see my review, btw?)

[babyeinstein12]

Yay! I totally understand what you're saying.

Actually, I remember browsing through it before watching the movie, and then I read it again after I finished my review. It was really gratifying to see someone who agreed with me on basically all of the movie's points! Go us!

[vivafruit]

Your reviews look pretty good for the most part (although I hated Gedo Senki :P). I'll try to give more detailed feedback later. It's neat to see another anime-lover/writer from Colorado - I'm currently living in Boulder/Fort Collins.

[VivisQueen]

Okay, I like what I've skim-read. I will give detailed feedback once vivafruit has given his (in case there's something I think of that he hasn't).

[foureyedalice]

<.< I think I'd like to take a stab at this. Is there a deadline for new reviewers/applicants? I've been thinking about trying to write a couple reviews, but might not get to them for a week or so.

[AnarchicQ]

Devil Hunter Yohko (7/10) & Chocolate Underground (8/10)

Devil Hunter Yohko

Story: (6/10)
First and foremost, I love Devil Hunter Yohko, but when I look past the sentiment I know that it's crap. I think it's important to remember when Devil Hunter Yohko was made, which was 1990, a tumultuous time in anime where it was just really cresting the shores of North America. Our anime choices consisted of either DBZ or Sailor Moon and one could be considered an 'otaku' for just knowing the name Astro Boy. Given that, the basic premise of Devil Hunter Yohko can now be considered over-done, cliche or maybe a staple of anime plots.

Long ago, a young girl swore to protect the Earth by slaying demons and devils. Since then, every female born in her family has taken up the mantle of Devil Hunters. Yohko Mano is the 108th devil hunter, and she's just now learning about her powers and responsibilities. For it's time, when there were only or two Magical-Girl anime at our disposal, and from a time before Buffy the Vampire Slayer and Hentai hadn't really made itself known, Devil Hunter Yohko was quite original but doesn't hold up by today's standards.

The series consisted of 6 episodes, one being a series of clips and music videos, so really there are 5 episodes. While there are reoccurring characters, the story is mostly episodic monster of the day type stuff, although there are certain situation that raise concern and actual reactions of 'oh crap, now what will Yohko do?'.

Animation: (4/10)
This is the part where I hang my head and I am embarrassed to say I'm a DHY fan.
The colours are muddy, there are glaring mistakes in the colouring, animation is re-used, re-used and re-used again in an endless cycle, corners are cut and consistency is murdered and then thrown out the window.

For example, there's a scene which I call "the 6 celled cat". A black cat jumps out of a bush hisses, and then runs off screen, but the animation is so jerky because they used roughly 6 cells to convey all that. Fluidity is non-existent in that cat.

While there are some nice special effects through out the series, like Yohko's powers, the whole thing is a mess of mud and stock footage. The entire budget was spent on her transformation sequence. Yohko's transformation is slightly different each episode. Her cloths are lovingly rendered as they explode from her spread eagle body and expose her nubile flesh.

Then there's episode 6, which was done by another animation studio. The quality is considerably better and the shift in animation slaps you in the face. But maybe you're naughty and you like that sort of thing.

I would drown old people if it meant we could have a re-do of this series with better graphics. But, at least Yohko's boobs bounce nicely.

Sound: (6/10)
There's nothing really exceptional about the songs in this anime. They're pretty generic, though I do like one or two songs. Touch My Heart is rather exciting as far as music goes. However, the ending theme to episode number 5 is laughable. And it's all kind of sad that they wasted an entire episode showcasing the music. It wasn't needed, there's nothing special.

Having said that, the voice actors are lots of fun. Aya Hisakawa is charming as Yohko. Even the dubbed voice for Yohko is fun when you consider the standards of that time.

Characters: (7/10)
Like I said, Yohko is charming and cute, with a great character design. One thing I appreciated was that while they would use any excuse to show a panty-shot or Yohko's breasts, the actual design of a Devil Hunter's outfit is classic, subtle and tasteful. She feels typically anime and magical-girl without being completely out there like some others I could mention. She stumbles along the way in her training, she's boy crazy, she's a girl with a sword!

Her grandmother is an extremely fun character. Her role is to train Yohko and teach her what it means to be a Devil Hunter.

Other supporting characters like Azusa, a hunter in training, Sayoko, Yohko's floozy mother and the boy who wants Yohko's heart are fine, though for some reason Yohko's best friend Chi always bugged me. No one is truly one dimensional (except for Sayoko), but they do fall into stereotypes.

Devil designs are all over the map. Gorillas, two headed dragons, slime balls, possessed people, possessed animals, gryphons and demon women are all showcased. I will admit that the penultimate demon in episode 5 did have a cool design. I liked Tokima, shut up.

Overall: (7/10)
Devil Hunter Yohko is mindless, nipple-flashing fun. You'll either love the cheekiness or find it silly drivel. You'll see it as a low point in anime history, or as a pioneer helping to bring anime to wider audiences. I liked it, I grew up with it. It opened doors for me regarding anime. If I saw it now, I'd probably drop it.

Regardless, I recommend this anime to anyone because I think it's an important entry in the history of anime. Never forget your roots.

Chocolate Underground

Story: (7.5/10)
I love me some good ol' dystopias, I really do. My favorite episodes of any series I watch are always the 'bad guy wins and everything's shot to hell' episodes. I'm fascinated with those sorts of landscapes and social climate. And that's why I both fell in love with Chocolate Underground, and call it a 'feel good dystopia', because what could be so bad about banning chocolate and sweets from our lives? Well, now I know.

When the Good For You Party pass a law forbidding sweets and chocolate, people fall into despair. Bakers lose their business and cannot feed their families. Birthday parties don't involve cake, and the bitter substitute sweets just don't cut it. Two spunky kids find a way to set up a 'chocolate bar', an underground banquit that served all manners of treats.

Remember how I called this a feel good dystopia? Well, it really is. It's like "Baby's First Hell-on-Earth.", combining Terminator machines with birthday parties.

I haven't read the book upon which Chocolate Underground was based, but I really enjoyed the story. Each episode is roughly 5 minutes long, so the story is told in tiny bursts and for this series it really worked. I wanted to see how the kids would triumph over the Good for You Party, who would betray whom, if the kids would even get away with it. It was a cute little story.

Animation: (8/10)
The animation was sufficient, with night-time raid scenes that were dark and gritty, and bright outdoor scenes when the kids were outside, bemoaning the lack of sugar. The CG was fine and blended in with the surroundings well, and the movements of the Good for You Party's machines was creepy.

The backgrounds conveyed a small town that was somehow set in the present and future.

The colour pallet was nice and rich and earthy without being too bright or shocking. Reflections such as on a computer monitor, or tin-foil wrapping were utilized well. The lighting was exceptional.

Sound: (8/10)
There's not much to say about sound in this anime, since the ending song was about 10 seconds long. The voice actors were good and emotive, and the ending song, while short, was catchy, light-hearted and appropriate. Any background music blended into scenes nicely.

Characters: (7/10)
The character designs were quite down to earth. They looked like normal people. Huntley and Smudger, the two lead characters, were easy to relate to.

The hardships that various people went through due to the new laws were disheartening and pretty realistic without being too saccharine. Everyone's motivation was believable.

The thug of the Good for You Party were pretty bland however, with the typical long haired, grimacing, suit-wearing bad guy. We've seen it often, in many other anime. It was just sort of dry and dull here. Not a big flaw, but noticeable.

Overall: (8/10)
I really enjoyed this little series. I found it to be a fun and interesting spin on martial law and prohibition. I also liked that it was a group of kids sticking it to The Man.

Everything about this series is satisfying without being overblown or crammed down our throats, granted, suspension of disbelief is needed for this series. There comes a point where some part of you goes "Eh, just go with it. Sure, why not?" because chocolate is not that important.

On the other hand, just look what people did during prohibition...

[VivisQueen]

Originally Posted by foureyedalice

<.< I think I'd like to take a stab at this. Is there a deadline for new reviewers/applicants? I've been thinking about trying to write a couple reviews, but might not get to them for a week or so.

There is no deadline for applying. At the moment the recruitment drive will be indefinite. Good luck. :)

[vivafruit]

After rereading BabyEinstein's reviews, there really isn't a lot to say. The only true errors are mechanical nitpicks: the comma always goes after the parentheses (like this), and the first word after a colon shouldn't be capitalized.

I also have a minor stylistic quibble with this sentence:

The series as a whole teeters on a very precarious edge, and in my opinion, it all boils down to a matter of taste and a reason for deciding to watch it in the first place.

Using indeterminate pronouns without proper antecedents usually leads to non-descriptive writing, and here the practice is especially bad because you use "it" twice, each time referring to a different antecedent. As is, the sentence doesn't read too well, especially when coupled with the following sentence, which also has "it" without an antecedent.

Even then, it doesn’t take a genius to figure out that La Corda d’Oro is firmly planted within the ranks of the utterly mediocre.

Other than that, the reviews are great and definitely good enough to be posted to the site.