Shiki

Title: Shiki
Genre: Horror, Thriller, Supernatural
Episodes: 22 (+2)
Aired: July 2010 - December 2010
Studio: Daume
Director: Tetsuro Amino
Writer: Ono Fuyumi, Ryu Fujisaki
Music: Yasuhara Takanashi

Tatsumi, a servant of the Kirishiki family

Every once in awhile a show comes along and redefines a genre.  Sometimes this is accomplished by telling an exceptional story; sometimes it's done by bringing a fresh and thought-provoking perspective to an otherwise familiar tale.  In Shiki's case, it's a bit of both: by providing a unique rendition of the classic tale of a village overrun by vampires while simultaneously offering a distinctly philosophical take on the vampire legend, the series manages to breathe new life into the oversaturated and generally monotonous vampire genre, and in so doing establishes itself as an instant classic.

Natsuno and Megumi

Shiki starts with a common premise. During an especially hot summer in the small and isolated village of Sotoba, a string of unusual deaths occur just as the strange Kirishiki family moves into the old Kanemasa mansion on the outskirts of town.  Although the villagers believe a summer cold is going around, the viewer quickly discovers the real cause: the Kirishiki are vampires (okiagari, or "corpse demons" to be precise), and they've decided to make Sotoba their home.  This, of course, means killing every last villager.  Yet rather than simply glossing over this point and focusing on one or two main characters to the exclusion of others, Shiki details the okiagari's systematic takeover of the village by acquainting us with each villager and their family and then making us sit through their demise.  This has the nice effect of making it easier to care about the villagers' losses and the difficult choices they must make, particularly when the dearly departed come knocking on the door, or when the dead must decide whether to attack their loved ones in order to survive.  The one downside to this method is that the story sometimes feels slow and drawn out, especially on replay.

Natsuno and Tohru

If the show does have main characters, they are undoubtedly Toshio Ozaki, the village physician, and Seishin Muroi, the village priest, whose diametric views on the nature and deserts of the okiagari are representative of the village as a whole.  As the village physician, Ozaki approaches the series of deaths from a medical perspective, and when he discovers the okiagari's existence and that it is "kill or be killed," he doesn't hesitate to fight back in order to save the living.  By contrast, the religious Muroi is troubled to the point of inaction by the fact that the okiagari are essentially human and only feed upon the living in order to avoid an unbearably painful hunger followed by death.  His interactions with the kind and tragic Sunako Kirishiki lead him to question not only whether the okiagari's actions are truly murder, but also whether the notion of sin applies at all to those forsaken by God.  Whereas Ozaki sees murderers deserving punishment, Muroi asks why such beings exist in the first place, and whether there can be murder without an uncoerced intent to kill.  These constrasting perspectives are revisited throughout the story in the experiences of the individual villagers, who must choose whether to kill the okiagari (often family members), and in the experiences of the okiagari, who struggle with the morality of their actions.

Megumi standing before Kanemasa mansion

Shiki's other major element is psychological, displayed through the villagers' unwavering denial of the spiritual and their gradual evolution in thought and response.  This aspect of the show is not only original, but also refreshingly realistic in its portrayal of resistance to belief in the supernatural.  Even as the facts begin to pile up, the villagers search for any explanation other than "mere superstition" and refuse to believe what is happening.  Yet paradoxically, while clinging to science and rationalism their actions are also guided by a base fear of the worst, so that even late in the series when most still dismiss fears of the okiagari as backward we find virtually no one willing to walk the streets at night (when the legend says the okiagari come out to kill).

Chizuru and Seishirou Kirishiki

In addition to Ozaki, Muroi, and Sunako, the show features a large cast, many of whom are well-developed and fun to watch.  Notable among these are 15 year-old Natsuno Yuuki, arguably a secondary main character alongside Sunako; Megumi Shimizu, Natsuno's stalker classmater; Tatsumi, the Kirishiki's main servant, and Chizuru and Seishirou Kirishiki, the purported heads of the household.  Generally the characters are very nicely animated (some, like Natsuno and Ozaki, reminded me fondly of Code Geass) and many have highly original, love-it-or-hate-it hairstyles and eye designs.  The background animation also really shines with detailed, scenic shots and some very cool experimental scenes.  On the downside a couple of character designs are confusingly similar, most notably Seishirou and the man who visits Sunako in the past.  The soundtrack, while a bit limited and repetitious (many of the tracks are simple variations on the main theme), is definitely one of the better and more memorable ones I've heard, and it fits the dark/horror/slightly lighthearted mood of the show quite well.  Shi-ki in particular captures perfectly the story's sense of sadness, moral ambiguity, and despair.  The voice cast is generally excellent, with special praise to Cherami Leigh as the sad yet determined Sunako.  

All in all Shiki is superb, offering a well-produced, original, and highly provocative take on the vampire legend.  Perhaps most surprisingly, it turned out to be one of the most philosophical anime I've seen.  Hopefully in time Shiki's unique take on the nature and deserts of the vampire will have an impact far beyond anime.  In the meantime, I encourage everyone to check it out.

Story: 9.3
Animation: 9.5
Audio: 8.3

Overall: 9.2 (Masterpiece)

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Usagi Drop

Title: Usagi Drop
Genre: Slice of Life, Comedy
Episodes: 11
Aired: July 2011 - September 2011
Studio: Production I.G.
Director: Kanta Kamei
Writer: Yumi Unita
Music: Suguru Matsutani

Rin at ojiisan's funeral

This is my first slice of life anime and I have to say, if this is what to expect, I'm going to be a big fan.  Usagi Drop starts with a simple yet entirely novel premise: after his grandfather dies, middle-aged bachelor Daikichi Kawachi and the rest of the family discover that the old man had an illegitimate daughter, Rin Kaga, by a much younger woman.  With her mother nowhere in sight, Rin is not only alone but also shunned by her only family.  When someone raises the prospect of sending her to an orphanage, a fed up Daikichi offers to take her home.  The story follows Daikichi's struggles in raising a young girl alone, and the development of the bond between them.

Daikichi and Rin when he offers to take her home

Usagi Drop is heart-wrenchingly beautiful.  I had to hold back the waterworks on multiple occasions (and once or twice to no avail).  It's the sort of story that will make a grown man bawl, especially if he has kids.  Because the plot is necessarily mundane - a slice of life about raising a child - the show focuses almost entirely on character development, and as a result Daikichi and Rin are wonderfully dynamic.  It is simply delightful to watch Daikichi's entire person evolve as the result of a single selfless act.  Initially a bachelor who smokes and frequently works overtime, he gradually gives up his entire life in order to care for a child who is not his own.  Rin is easily one of the sweetest, saddest, and cutest characters ever created, and thanks to Daikichi is able to develop from a scared and lonely child left behind by the world into a confident, warm, and genuinely happy little girl.  Although the story is generally about Daikichi and Rin learning to live together, there are several nice subplots that keep the story from getting stale: Daikichi's interactions with Rin's mother; Rin's interactions with the other kids at school, especially Kouki; and Daikichi's potential romance with Kouki's single mother, Yukari.  These also help to add a sense of suspense over whether Rin's mother will try to take her away from Daikichi, and whether Daikichi and Yukari will end up together.

Daikichi and Yukari

While I clearly loved this show, I have to pause for a moment to let out some frustration, and I'll be sure to tread carefully so as not to spoil anything.  In the final three or four episodes, the story focuses heavily on a particular subplot and hints at a resolution.  Yet rather than finishing strong with a decisive and happy ending, we're left with a cliffhanger.  Understandably dissatisfied and confused, I took to the forums to see why things ended the way they did, only to find that the manga provides a clear, and frankly deeply disappointing, explanation.  Conscious of my role of reviewing Usagi Drop the anime rather than Usagi Drop the manga, I can nevertheless say that this revelation fundamentally altered my perspective of the show, and I strongly recommend against reading the manga.  End unfortunate digression.

Daikichi and Rin walking by cherry blossoms

Beyond a very touching story, Usagi Drop features a surprisingly beautiful and memorable collection of piano tracks that complement the story's emotional side perfectly, (e.g., Ketsui), as well as some nice slice-of-life themes (e.g., Koigokoro).  The animation, which essentially feels like you're watching a children's storybook come to life, also complements the show well, despite its lack of detail or beauty.  The voice actors are on the whole very good, and Ayu Matsuura was an excellent pick for Rin.

In the end Usagi Drop is unlike any anime I've ever seen.  Perhaps it's par for the course for slice of life anime, but I really felt connected to the characters and their story in a way that few shows have been able to accomplish.  Maybe I'm just a sucker for sweet stories, but this is absolutely a show I would recommend, and definitely one I won't soon forget.

Story: 9.4
Animation: 5.8
Audio: 7.5

Overall: 8.7 (Great)

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Hellsing Ultimate

Title: Hellsing Ultimate
Genre: Action, Horror, Supernatural
Episodes: 10
Aired: February 2006 - December 2012
Studio: Gonzo
Director: Umanosuke Iida
Writer: Chiaki J. Konaka
Music: Hayato Matsuo

Paradigmatic of the exquisite and highly original animation

Hellsing Ultimate is the epitome of style over substance: possibly the best animation of any series to date, a superb voice cast, a fine soundtrack, non-stop action, but virtually nothing to offer in terms of story depth or character development.  It's Michael Bay doing an anime about Dracula.  It's The Raid with Nazi vampires.  In short, it's an exquisitely done pure action/horror, but that's it.  While the show should certainly be commended for filling the action/horror anime void and demonstrating the full potential of animation, those who prefer a story with emotion and complexity may have trouble seeing what all the fuss is about.

Alucard, aka Dracula, king of vampires

The story starts out with a lot of potential: vampires, long a pest but never a threat to Britain's Hellsing organization and its vampire servant, Alucard, are turning up with increasing frequency and converting the populace into hordes of zombie ghouls.  During a response to one such emergency, Alucard offers to save a dying police officer, Seras Victoria, and makes her into his vampire servant.   Meanwhile Iscariot, Hellsing's Catholic counterpart and mortal enemy, has broken their treaty and seems poised to wage an all-out war on the "demons and heathens" occupying Britain.  They also appear to have a connection to the mysterious Millennium organization, a remnant of Germany's Third Reich and yet another group that wants Hellsing destroyed and Alucard dead.

Victoria Seras about to be eaten alive

For the first 4 or 5 episodes, Hellsing Ultimate is perfect, with a nice mix of meticulously detailed fights and plot revelations to keep your interest.  Alucard quickly reveals himself to be an unstoppable badass, Seras struggles with the loss of her humanity, and Hellsing tries to uncover the mystery behind the rise in vampire attacks, Iscariot's aggression, and the Millennium organization.  Unfortunately once these mysteries are unraveled, the show becomes little more than a series of battles and an endless supply of blood and gore.  Although there is a last ditch effort to infuse the plot with substance - a minor twist, the revelation of Alucard's past, and some half-hearted philosophy - I couldn't help but look back and think, "That was fun, but what was the point?"  Like the Millennium organization, the essence of Hellsing Ultimate is war for the sake of war, and nothing else.  This might be defensible if there were at least some meaningful character development, but apart from the minor growth seen in Seras and Walter, everyone is pretty static, enjoyable but existing as props for the story rather than for their own sakes.

Rip van Winkle,  First Lieutenant of Millennium

Despite lacking much of a plot, there's no denying that Hellsing Ultimate is one hell of a ride.  Much of this is due to the show featuring one of the best anime productions out there.  Other than maybe Fate/Zero, this is bar none the best animation I've ever seen: beautiful, novel, and at times experimental, with a masterful manipulation of lighting, color, 3D effects, and bold outlines of characters that makes it feel like a gorgeous comic book come to life.  My one complaint has to be that, amidst all of this maturity, we occasionally get tacky, humor-themed animation that feels more like scenes from Fullmetal Alchemist than an epic action/horror.  This style especially screws up the final episode, where we're forced to watch a full 5 minutes of crap before the animation returns to normal and the cliffhanger is resolved.  On audio, the soundtrack is pretty cool, featuring a mix of tracks that feel like they're straight out of a 70's horror flick (e.g., Thousand Fangs, Ten Thousand Eyes) and some ornate religious themes (e.g., Song of Demeter).  The voice cast is generally top notch, featuring most of the actors from the original series, notably Crispin Freeman as Alucard.

I like Hellsing Ultimate and consider it a keeper, but I also think it receives far more praise than it deserves in light of its banal story and static cast.  While it certainly accomplishes what it sets out to do, it helps that it doesn't set out to do much.  Apparently this model of not taking any risk on the story and focusing on a flashy production is a good one, as the show has received a slew of 10's and is one of the highest rated anime of all time - it just won't be getting a 10 from me.

Story: 7.0
Animation: 9.9
Audio: 7.0

Overall: 7.4 (Very Good)

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Code Geass: Lelouch of the Rebellion R2

Title: Code Geass: Lelouch of the Rebellion R2
Genre: Action, Mecha, Drama
Episodes: 25
Aired: April 2008 - October 2008
Studio: Sunrise
Director: Goro Taniguchi
Writer: Ichiro Okouchi
Music: Kotaro Nakagawa

Lelouch and C2

If there's one word to describe R2, it's more: more emotion, more mecha fights and powers, more philosophy, more revelations and subplots, more fanservice, and a lot more absurdity.  Naturally, opinions of the show are quite polarized and depend on which aspects you care about most.  If you prefer a carefully planned and masterfully executed story, you're going to long for the days of the first season.  If you're willing to excuse some poor writing and delivery in exchange for more excitement and substance, you'll love this one.  I tend to come down somewhere in the middle: while R2 is undoubtedly a masterpiece, continuing and in many respects improving upon the legacy created in season 1, it often tries to do too much and fails.  The result is essentially a wash: R2's story, while better, is held back by weak execution and zany plot devices.

Suzaku, now a Knight of the Round

I'll assume you've watched season 1, and if not I suggest you stop here because I'll be spoiling it.  Last time we saw Lelouch, he and Suzaku were screaming and pointing guns at each other's heads.  Enter R2, with one of the most well-written first episodes of any anime due to its ability to completely throw you off, only to explain everything by the end.  Lelouch is back in school and everything seems to be fine.  His friends act like nothing happened, Villetta Nu is his gym teacher, and he now has a brother named Rolo while Nunnally is nowhere to be found.  He also appears to be ignorant of Geass and his identity as Zero.  I won't spoil the remainder of the episode, but rest assured that Zero makes his comeback and engulfs Japan in turmoil once again.

While R2 follows the Black Knights' struggle to liberate Japan, don't expect a repeat of season 1.  This time the battle goes global, with Britannia's Knights of the Round joining the fight, and the setting shifting frequently between Japan, the Chinese Federation, and Britannia.  With the world at war, the mecha fights are also now a mainstay, not to mention immensely better thanks to tons of fast-paced sky combat and constant power upgrades.  Most importantly, we finally get answers: who is C2 and what does she want, who is V2, what is Geass, who killed Marianne, and what does the Emperor seek?  Although some of these could have been clearer (e.g., the Emperor's motive for using the Sword of Akasha and Lelouch's reason for reacting as he does), they're there if you look hard enough, and they're generally satisfying.  In typical Code Geass fashion, R2 also manages to ask new questions even as it answers the old.  One is philosophical, represented by the competing visions of the Emperor, Schneizel, and Lelouch: should humanity seek to resurrect its past, freeze time in the present, or march onward into an unknown future?  The other, raised in one of the greatest and most beautiful anime endings ever made (I teared up), can never be entirely resolved.

Kallen's Guren trashing Gilford

R2 also shines in its character development, perhaps even more than its superb predecessor.  While Euphemia is gone and Cornelia is relegated to a minor role, others move in to fill the void.  Of the characters from season 1 - and apart of course from the ever-interesting and dynamic Lelouch - the stand-outs have to be Kallen, who proves herself entirely capable of taking on the almighty Knights of the Round, all while holding together the Black Knights and Lelouch; and C2, who is rendered tremendously more complex and beautiful through the revelation of her past and the focus on her evolution alongside Lelouch.  Suzaku sees some nice development too, particularly on a philosophical level (ends vs. means debate) in and after episode 20.  R2 also introduces a host of new characters, all of whom are fine, if nothing special.  Of these the best are probably Rolo, who transitions from twisted sociopath to somewhat human and empathetic, and the (not entirely new) Emperor Charles, who is a great villain, if not at times inconsistent.

Emperor Charles li Britannia

By going bigger in virtually every respect, R2 is able to deliver a considerably more complex and substantive story than season 1.  Yet in so doing, it also has more opportunities to stumble, and does.  And so we repeatedly see wacky plot devices - first in episode 8, again at the end of episode 9, and arguably twice in episode 13 - that make the story feel sloppy, and there are occasionally problems with pacing and transition.  There's also a lot more fanservice, especially in the opening episodes where Kallen goes from Black Knight Ace to ass and tit eye candy.  Most damningly, R2 undermines the entire series by creating some major plot holes.  In episode 8, for instance, Villetta realizes that Oghi is the person wearing a Zero mask based on his voice alone.  But since Lelouch uses his normal voice too, there is no reason why people who know him haven't been able to identify him as Zero.  Even worse, on two occasions we find Lelouch ordering people to "obey him from this moment forward" or to "be his slave."  Yet this renders the one-time-per-person Geass rule meaningless, and makes it hard to understand why Lelouch would ever order anyone to do anything else.

Anya, Suzaku, Prince Schneizel, and Gino

While R2's story admittedly has some issues, they don't really matter.  In part this is because the series can rest on its laurels: season 1 was so good that fans would be happy with just about any sequel, and it receives a lot of leeway simply because it's Code Geass.  Even so, despite some setbacks R2 is generally very well done, and a highly engaging and satisfying continuation of the Code Geass saga.  It also somehow manages to improve upon season 1's stunning animation and soundtrack, with far better mecha fights and special effects, more scenery shots, and some gorgeous new tracks (e.g., Hitomi's Continued Story).  Even Nina's voice changes for the better, allowing her to go from shrill and whiny to a bearable, relatively interesting character.  All of which makes R2 a difficult show to review.  In many respects it is unquestionably superior to season 1, yet there's also no denying that it is weaker on execution.  Which is more important, I'm unable to say.  In the end, loving both seasons, I am content to call them both masterpieces and to recommend the entire series to anyone.

Story: 9.8
Animation: 9.3
Audio: 9.5

Overall: 9.7 (Masterpiece)

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Code Geass: Lelouch of the Rebellion

Title: Code Geass: Lelouch of the Rebellion
Genre: Action, Mecha, Drama
Episodes: 25
Aired: October 2006 - July 2007
Studio: Sunrise
Director: Goro Taniguchi
Writer: Ichiro Okouchi
Music: Kotaro Nakagawa

Lelouch Lamperouge

Let me preface this by saying this is the fourth time I've watched Code Geass, and it never fails to impress.  I'm also well aware of the many reviews attacking the show for its alleged defects, often going out of their way to tear it apart based upon questionable criticisms instead of offering a sincere assessment on the merits.  I can only surmise that the bulk of these are the product of the counterculture phenomenon: the series is so popular and mainstream that it must suck.  Obviously I disagree, and I'll do my best to explain why.

Zero

Code Geass starts with a great, deceptively original premise.  The world is at war.  Its sole superpower, the Holy Britannian Empire, has recently conquered Japan using advanced weaponry known as the Knightmare Frame.  Lelouch, a well to do, perpetually aloof boy living in the Tokyo Settlement, escapes his otherwise dull life by beating nobles in high-stake chess games, until the day that he is caught up in a fight between the colonial government and pro-Japanese terrorists, meets a mysterious green-haired girl named C2, and is given the power of Geass (in his case, the power to order anyone to obey his command).  War, mechas, and special powers are nothing to sneer at, even if stories incorporating these elements are a dime a dozen.  Yet Code Geass stands out in its ability to infuse richness and depth into virtually every element and central character of the story.  The war isn't just about land - it's about political philosophy.  Britannia, by far the most powerful, nationalist, and aggressive of the world's political powers, is also the most morally deplorable, founded upon racial superiority, economic inequality, and the principle that the strong should devour the weak.  The European Union and Chinese Federation, by contrast, choose to grant equal rights or equal wealth to their citizens, but are consequently weak.

C2

Nor is Lelouch some random guy who gets special powers and decides to become a terrorist.  Besides being one of the best and most complex male protagonists in the last decade, he is an outcast prince of Britannia who despises its philosophy and the Emperor because both deny the worth of his crippled sister Nunnally.  Through his alter ego, Zero, he seeks to destroy the world through virtually any means so that he may rebuild it anew.  Suzaku, Lelouch's best and yet worst friend and pilot of the invincible Lancelot, isn't just some trite rule follower, either.  He is driven by his own dark past to believe that no good can come to oneself or others from an end attained by wicked means.  C2 has her own complex history and a soul tempered by an existence outside of time.  In her most candid and beautiful moment, she explains that her real name is all she remembers, and so she goes by C2 to ensure that it may only be spoken with tenderness, honesty, and affection.  A number of characters beyond the main cast are also remarkably well-developed: Kallen, who leads a double-life as a Britannian student and terrorist and fights to give meaning to her brother's death and mother's life; the deliciously ruthless Cornelia, who presents a formidable challenge to Zero's plans; the maniacal Jeremiah Gottwald, aka Orange Boy, whose devotion to the Crown causes him to lose his very humanity; and Euphemia, the sweetest, kindest, and most tragic character a mecha anime has ever seen.

Princess Cornelia

Beyond incredible, dynamic characters, Code Geass offers a superb story with perfect pacing and an endless supply of suspense and emotion.  From the first episode, when Lelouch narrowly escapes death using his newfound Geass powers by ordering the Britannian soldiers to kill themselves, I was completely hooked, and things never let up.  While the plot is initially and ultimately about the conflict between the Black Knights and the Britannian government, there are some nice subplots that enrich the main story: Suzaku's rise within the Britannian military and incessant ability to thwart Lelouch's efforts; Shirley's internal struggles; C2's past; the origins of Geass; and the Emperor's obscure plans for the world.  Underlying the story are two philosophical questions, one common albeit well executed, the other quite novel - Can revolution be justified if it requires sacrificing the lives and happiness of others (i.e., can the ends justify the means), and if so, who should bear the blame for the consequences?  The conclusion is also one of the best of any anime.  True, it's the biggest cliffhanger ever and had I been watching during the initial broadcast I would have gone into a fit of rage, but it manages to create one of the most emotional moments I've ever seen, and it ensured viewers would be back for the second season.

Suzaku and his Lancelot vs. Tohdoh

Fortunately the studio realized it had a great story and went all out on the animation, soundtrack, and voice casting to make this a top-notch production.  The character designs in particular are stunning, with facial expressions that often bring them to life (see especially Cornelia when she goes mad).  The soundtrack is essentially as good as it gets without hiring Yoko Kanno, featuring a mesh of classical tracks with an imperial flavor (e.g., Noblesse Oblige), beautiful symphonies (e.g., Boyhood), jazzy trumpet pieces (e.g., Pessimistic Time), and a couple of amazing Hitomi tracks (e.g., Stories).  The voice cast is essentially as good as it gets (no qualifier), featuring Johnny Yong Bosch (Lelouch) in probably his best performance, Kate Higgins (C2), and an exceptional fit and performance by Mary Elizabeth McGlynn (Cornelia).

Alright, so at this point I sound like a fanboy foaming at the mouth, which is partly accurate.  But I like to be fair, so I'll close with the few things I did not like about Code Geass.  First, and most critically, there are a few times when things line up too perfectly.  Eye contact, for instance, is occasionally an area where Lelouch takes a huge gamble and gets lucky.  Episode 22 also borders on unbelievable, but is ultimately acceptable because a foundation is established earlier on.  Second, events accelerate a bit too much in the final 3 episodes and one more episode would have been nice to spread things out.  Finally, I don't like Nina (mainly because of her voice) and I can't stand Tamaki.

Obviously those are minor criticisms that had little effect on my opinion of the show, and try as I might, I can't think of any others.  Really I'm sure I could add more reasons that I love it, but this review has gone on too long already.  Put simply, Code Geass is a masterpiece, and at least for now, it's the gold standard by which I review new anime.

Story: 9.8
Animation: 9.2
Audio: 9.4

Overall: 9.7 (Masterpiece)

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Deadman Wonderland

Title: Deadman Wonderland
Genre: Action, Thriller, Supernatural
Episodes: 12
Aired: April 2011 - July 2011
Studio: Manglobe
Director: Koichiro Hatsumi
Writer: Jinsei Kataoka
Music: Narasaki

The Redman on the verge of massacre

What a trainwreck.  Might as well start with the premise, which is the best thing Deadman Wonderland has going for it.  Ten years ago, a massive explosion/earthquake engulfed and destroyed Tokyo.  Ganta Igarashi, a survivor with no memories of the tragedy, has led a normal life until one terrible day a sinister being dressed in red kills everyone in his class and shoves a red stone into his chest.  Summarily convicted of slaughtering his classmates on the basis of a confession he doesn't remember giving (due process for the win), Ganta is sent to Deadman Wonderland, a maximum security, privately-owned prison that raises revenue by forcing its inmates to participate in lethal games for society's enjoyment.  As if this weren't twisted enough, Ganta soon begins to unravel Deadman Wonderland's dark secret.

Deadman Wonderland

Sounds pretty good, or so I thought.  And really, for the first half or so, the show has a nice pace, quite a few layers, lots of refreshing profanity, and enough gore to make it 2011's Elfen Lied.  In episode 1 the wonderfully dark and ruthless Chief Guard Makina asks the new inmates if they have any questions, to which one responds, "How big are those titties?" and she says "G."  That pretty much sums up the mood of the show: over the top, profane, and often absurd.  This is by no means a bad thing if the story is good, but around episode 6 things start to fall apart.

Shiro and Ganta fighting for their lives

This was the first time I thought, alright, they're trying too hard.  Overkill on the language, too fast-paced, and too many characters and new events.  Maybe it's just the 12 episode curse, but it's hard to do drama when you've barely finished building things up before you go in for the shocker climax.  And unfortunately, we see this time and time again in Deadman Wonderland, especially with the slew of characters that are thrown at us in the second half.  People start sacrificing themselves, or just acting insane.  The writers apparently realized this was an issue, but they chose the odd strategy of showing a character do something completely random, followed by a few minutes of their background to explain why that just happened.  About halfway through the show also decides to go from original thriller to typical Shounen, where the fights are 70% empty speeches about friendship and the value of life and 30% action.  No thanks.  I have to admit I sort of thought this might happen, because Ganta is one of the whiniest, annoying characters I've witnessed in a long time.  Part of this is due to his voice - do not watch this in English!  I'm sure I've heard Greg Ayres's voice before and thought it was fine, but he really should never be cast as a main character again.  Romi Park, on the other hand, is a pretty good fit for Ganta, but regretfully Ganta's insufferableness runs much deeper than his voice.  I get that he is a teenage boy who has been thrown into this absurd situation, but he never really grows up or stops pouting, despite repeated promises that he will.  At least Shiro, Ganta's quirky, unnaturally powerful albino friend who seems to know him from the past, adds a bit of comic relief and quite a bit of mystery, but she's not complex enough to carry the show on her own and doesn't start to develop until the final couple episodes.

Chief Guard Makina

It's obvious by the end that the writers were banking on the prospect of getting a second season: just get through these 12 episodes, and I promise we'll tell you a good story.  We'll tell you what actually happened ten years ago, why Deadman Wonderland really exists, why in the final episodes we've introduced this new guy who is insane and also the strongest of all the deadmen but gets literally no development, etc., etc.  I didn't even need to look it up to know this was based upon an incomplete manga, because it was so painfully apparent.  It was also really unfortunate, because like I said in the beginning, this story has a good premise, and a second season is apparently doubtful.  Alright, I'm done whining.  Clearly I've been watching Ganta too much.  I'll finish with a couple other nice things about the show: the OP is not a half-bad song, even for someone who isn't a fan of hard rock, and its animation is promising.  The animation overall is also very good; I especially liked how expressive the characters' faces were, as it really brings out the pain and grief.  I guess that's it . . .  I'm sure Deadman Wonderland is a great experience for some people, and at only 12 episodes, it's not as if I'd argue against watching it.  Just realize that if you're looking for plot and character development, you're in for a disappointment.

Story: 5.1
Animation: 7.0
Audio: 5.5

Overall: 5.4 (Fine)

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Xam'd: Lost Memories

Title: Xam'd: Lost Memories
Genre: Action, Sci-Fi, Fantasy
Episodes: 26
Aired: July 2008 - February 2009
Studio: Bones
Director: Masayuki Miyaji
Music: Michiru Oshima

Akiyuki after becoming Xam'd

Also known as Xam'd: Lost Potential.  But really, what an incredibly satisfying and yet disappointing show.  The main reason I had such high hopes for Xam'd is that it's basically Bones doing Ghibli.  This isn't coincidence: before making his directorial debut here, Masayuki Miyaji was an Assistant Director for the critically-acclaimed Spirited Away.  So what did we get?  A hodgepodge of promising themes, stories, and characters that are never fully developed in the paltry 26 episodes allotted; gorgeous animation and audio nearly fit for a Miyazaki film; and a sense of deep regret that more thought didn't go into developing a better core, be it some underlying philosophical meaning or even a vaguely interesting climax.  For 20 episodes, I was thinking this could be a new favorite.  For the last 6, I was wondering just how much damage had been done.

Nakiami

Let's start with the Miyazaki influence.  In many respects Xam'd feels like a cross between Princess Mononoke and Nausicaä of the Valley of the Wind.  Each features an environmentalist message and strong female protagonist with a connection to all living beings.  Here the role of San/Nausicaä is played by Nakiami.  From her desire to live in harmony with creatures feared and ostracized by society, to her character design and even her flying kayak (which looks and operates like Nausicaä's mehve), Nakiami is not particularly original.  This isn't a problem: San and Nausicaä are, after all, from films over a decade old.  Nakiami, rather than coming off as an overused knockoff, is refreshing, and easily one of the best characters in the show if not of any anime in recent years.  Fortunately, even though she isn't the "main" character, she gets more airtime and development than anyone else.

Nakiami, again

Xam'd's look and sound is also heavily influenced by Miyazaki.  The animation is essentially Ghibli on a tighter budget, and the result is beautiful.  While it's not Princess Mononoke, most of the time only the exacting eye could tell you how it falls short.  The soundtrack has some excellent tracks that feel like they've been ripped right out of Nausicaä.  See, e.g., Xam'd theme song; Taiyou no Soba.  Xam'd also features one of the best OPs and better EDs I've heard, see Boom Boom Satellites: Shut Up and Explode, and Kylie: Vacancy, as well as an amazing voice cast (English).  Blake Shepard in particular, who plays Akiyuki, could be the next Johnny Yong Bosch, and the more seasoned Luci Christian is perfect as Nakiami.

Alright, good job Xam'd, but what do you have to offer beyond repackaging some Ghibli themes, characters, and production values?  What does your story offer, and what are the rest of your characters like?  This is where matters get complicated.  From the beginning, Xam'd's plot is pretty good; a bit unoriginal but plenty to work with and to get your attention.  There is a war - the Northern Government and Southern Continent Free Zone are having at it while Sentan Island, home of our young protagonist Akiyuki Takehara, remains neutral.  There is also a strange, ostracized people, the Tessik, who seem to bear a spiritual connection to the Xam'd.  One day, all hell breaks loose.  During a field trip, Akiyuki and his best friends Haru and Furuichi are caught up in an explosion caused by a Tessik girl, a thing called a hiruko flies into Aki's arm, and he becomes Xam'd!  Not long after this explosion the Northern Government attacks and Akiyuki is forced to fight off a human-form monster (a hiruko-infused human similar to Xam'd).  Victorious but unable to control the raging hiruko within him, Akiyuki begins to turn to stone until Nakiami (another Tessik girl) arrives to save him and takes him aboard the international postal ship, the Zanbani, where his journey begins.

Akiyuki, Haru, and Furuichi

These first few episodes raise a number of great questions that are unfortunately never satisfactorily resolved.  Why is there a war?  Why are the Tessik ostracized by everyone else?  What is a hiruko, why do they exist, why do they turn people into Xam'd, and why are they so lonely?  Why does the Quickening Chamber operate as it does, and why (without huge spoilers) do things have to end the way they do?  Failing to answer key questions isn't the best way to tell a story, but it gets worse.  While I have to applaud the relatively large cast of well-developed, memorable, and generally likable characters (e.g., Haru, Midori, Furuichi, Fusa, the badass, raunchy Ishuu, and too many others to name), I was surprised at how empty and bland Akiyuki turned out.  In the first episode he comes across as this cool, opinionated, rebellious type with a lot of character, but as the plot progresses his development is oddly pushed to the side, and he ends up being defined almost entirely by the characters around him.  By the end it felt as if Nakiami were the true main character, and Akiyuki functioned solely as a vessel for the Xam'd.  Perhaps this was intended, but it isn't a good way to make me care about what, if anything, happens to him in the end.

The Zanbani

In a way Akiyuki is symbolic of the show as a whole: promising some complexity in the beginning, but relatively static in the end.  This was especially true with respect to the various "deep questions" (see, pseudo-philosophy) raised only to receive a shallow response or no response at all.  For instance, the Xam'd all say "I want to live."  Aki's dad says early on "A question without an answer is truth.  Yet people must continue to question themselves.  It's in their nature."  There is a long speech about "this is your enemy, that is your enemy, blah blah blah."  What do these things mean?  Hell if I know.  As far I could tell, they didn't bear the slightest relation to the underlying plot.  Perhaps the worst of all was the climax, which at least offered some answers but couldn't have been more mundane.  Then we're all supposed to be emotional and involved, and I'm busy looking at my list for something else to watch while episode 26 plays in the background.  By the end the show had just devolved into a mess, with too much going on, too many characters getting attention while Akiyuki got virtually none, and too hasty and lackluster of an explanation.  Do I want those ~12 hours of my life back?  Absolutely not, because the first 20 episodes were so enjoyable, even if they were sullied by the last 6.  At the same time, that is the worst kind of disappointment: climbing to the top, only to plummet back down in the end.

Story: 7.3
Animation: 9.0
Audio: 8.6

Overall: 7.7 (Very Good)


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