Snow White with the Red Hair Part 1 Review


If you’re someone who’s read many of my
Anime UK News reviews, you’ll know that I’m a real fan of any work adapted or created by Studio BONES. Lately there was one notable series of theirs that I didn’t watch while it aired: Snow White with the Red Hair. After hearing good things from one of my co-writers, Joshawott, I decided that I had to give the show a chance when it came up for review. Here’s what I thought of the first half of the series.

The story of Snow White with the Red Hair follows the tale of Shirayuki, a young girl with beautiful red hair who lives in the kingdom of Tanbarun where she works as a skilled herbalist. Because of her rare hair colour, she attracts the attention of Raji Shenazard, the prince of Tanbarun. The prince desires to make Shirayuki his mistress, but rather than obey his command, Shirayuki decides to run away. In doing so, she encounters a young man known as Zen and his two companions, Mitsuhide Lowen and Kiki Seiran, but it’s not long before Raji catches up to Shirayuki and manages to poison Zen! With no choice but for Shirayuki to face Raji to obtain an antidote, just what will become of our heroine?


Well, as it turns out, quite a lot will become of her! It’s soon revealed that Zen is actually the second prince of the neighbouring country, Clarines,  and he uses his influence to help rescue Shirayuki from her situation. Afterwards Shirayuki decides to move to Clarines and begins working hard to pass the court herbalist exam (which will allow her to serve the castle) while also remaining close friends with Zen. However, it appears that love may be in the air between these two…


It has to be said that the story of Snow White with the Red Hair is fairly simple. It’s a shojo series, therefore a love story, and it’s happy to bubble along slowly as the two main characters get closer to one another. That being said, while the plot is simple, I don’t find it badly done, which is mostly down to the fact that the characters are well written.

Shirayuki often finds herself in trouble due to her unusual red hair and her friendship with the prince, but she’s by no means a damsel in distress. The nice thing about Shirayuki is that she’s a very confident person, and although she has limitations in strength due to being a woman (for example, at one point early in the series she is kidnapped and struggles to overpower her male captor) it just leaves her feeling very human. She’s always trying her best to improve herself and isn’t happy to just sit around and be saved by Zen; she wants to be his strength and actually have something to show for herself.

That’s not to say the show is flawless. Despite the characters being well written, Shirayuki is the only one who feels original to me. The rest of the cast seem generic. If you break Shirayuki down far enough then she’s certainly made up of many typical personality traits but that would take dissecting her character under a magnifying glass to really notice. Characters like Zen and his guards, Mitsuhide and Kiki, feel like cutouts of how we’d all imagine a Prince Charming and his supporters to act. There is nothing wrong with this as on the whole I did like Zen, Mitsuhide, and Kiki, but if you’re coming here looking for a vastly different love interest, then I’m sorry to disappoint you. That said, I do like Zen’s third aide, Obi, who was originally being used to scare Shirayuki out of the castle but becomes a silly goofball character once he’s taken in hand by Zen.

I think Snow White with the Red Hair is a safe shojo story. It’s not attempting to be groundbreaking or tell a wholly new story, it’s just trying to be good – and I really do think it satisfies that condition. I like love stories. I’m usually busily reviewing action/fantasy series like Is It Wrong to Try to Pick Up Girls In A Dungeon? but I have a real soft spot for a good shojo series, too. Being a shojo anime fan living in the UK doesn’t offer that great of a deal of selection for these titles (Say I Love You UK anime release when?) and often those that do get released aren’t that good. I think that’s why the release of Snow White with the Red Hair is so important to me because not only is it a series handled by BONES, it’s a genuinely strong entry for the shojo genre.

Speaking of BONES, I’m happy to report that they’ve done some very good work here. Character designs, backgrounds, and the overall standard of animation is very smooth. It walks the studio’s usual line of being anime but with a slightly western influence without losing the charm of being a Japanese piece of work. The colours are bright and vibrant throughout but the studio are also happy to use a darker selection of shades for the more gritty sequences (such as when Shirayuki is kidnapped) and that’s something I really respect them for. BONES have a good eye for colour and how to make it really fit the mood. I’d also like to spend a moment pointing out how much I love the way the studio artists depict exaggerated character expressions, as they’re always a joy to behold and fit right in with my sense of humor.

Where music is concerned, one of my favourite composers, Michiru Oshima, has handled things and overall the soundtrack sounds great. I’ve heard a lot of Oshima’s work recently thanks to rewatching Fullmetal Alchemist and The Tatami Galaxy, so it was quite obvious from the use of violins and strings that Snow White with the Red Hair was a work of hers. It’s a soundtrack that fits well with the show and the various themes it explores. Overall I have nothing to complain about. The opening for the series is “Bright Hopes” sung by Shirayuki’s voice actress and the ending is “Kizuna ni Nosete” by Eyelis. Neither track is that memorable and the animation is simply of Shirayuki and the cast having fun together, but both fit the series well enough.

The Japanese voice actors do a fine job on the whole. Shirayuki is voiced by Saori Hayami (Koyuki Hinashi in Fuuka, Shinoa Hiragi) and she plays the role with a great deal of emotion, managing to convey Shirayuki’s feelings well. Zen meanwhile is handled by Ryota Osaka (Sadao Mao in The Devil Is a Part-Timer!, Keiji Akaashi in Haikyu!!), who plays the prince in a suitably charming and engaging way. He injects a lot of fun into the role and that enthusiasm comes through to the viewer. I’d like to take a moment to also give a shout-out to Jun Fukuyama, who plays Raji (Ango Sakaguchi in Bungo Stray Dogs, Takeshi Nishigori in Yuri on Ice!!, Shinra in Durarara!!)). Raji is a side character who reappears about halfway through Part 1 and when he did, he instantly became one of my favourites due to Fukuyama’s fun and engaging voice work with Raji (although this is due in part to the fact that he started reminding me of Shinra). Raji went from being a total sleaze to being a silly character that I’ve grown attached to.

I’d like to say that the English voice actors do as good a job as well but unfortunately I have real problems with Shirayuki’s English actor: Brina Palencia (Nina Tucker in the original Fullmetal Alchemist, Maho Minami in Beck: Mongolian Chop Squad). What I got from watching the anime in Japanese is that Shirayuki is a very emotional character, yet Palencia doesn’t convey her feelings that well at all – and when the main character is not conveying emotion then the whole dub feels underwhelming. I’d recommend that everyone simply watch the show subbed instead.

This release comes to the UK thanks to Funimation and contains Episodes 1-12 of the series on two Blu-ray discs both subbed and dubbed. Although notably absent for me is an OVA that bridges the gap between the first and second cour of the show; hopefully Part 2 includes it. The extras on offer are the usual scattering of trailers, clean opening and ending videos and some episode commentaries for Episodes 9 & 11.

In the end, I’m certainly looking forward to Part 2 of Snow White with the Red Hair. It’s not really groundbreaking for the shojo genre, but the cast are really likable and I find myself wanting to see more of how this love story will play out. Highly recommended on the whole!

Title: Snow White with the Red Hair Part 1
Publisher: Funimation (via Anime Limited)
Genre: Shojo
Studio: BONES
Type: TV Series
Original vintage: 2015
Format: Blu-Ray
Language options: Japanese audio with English subtitles and English dub audio
Age rating: 12
Running time: 300 minutes

Score: 8/10

Serial Experiments Lain – The Complete Series Review

With a lot of series, I would point to the writers or directors and put in brackets their most famous work, but Serial Experiments Lain IS the most famous work of writer Chiaki J. Konaka, character designer Yoshitoshi ABe and, arguably, director Ryutaro Nakamura. This is one of those rare “perfect storm” projects that made a name for all involved that they weren’t ever really able to top, at least not in the eyes of the majority. With that said, does Serial Experiments Lain, an unusual anime made in 1998 based around the idea of what a future where the internet is easily accessible would be like, still work in 2017?

It has to be first noted that Lain is written in a rather abstract and sometimes non-linear way, and in general it’s hard to talk about an overall plot when it has so many turns. The bare bones is that school girl Lain Iwakura, normally disinterested in “The Wire” (an advanced form of the internet… well, of the internet as it was in ’98) and other technology, suddenly receives an e-mail from a fellow schoolgirl after they had committed suicide, telling her that now she’s left her body behind and became part of The Wire, and everything is great. The mystery surrounding this leads Lain to get a new and more powerful computer, and slowly she begins to lose herself in the virtual reality, losing touch with what is real and what isn’t, and even who she really is and what it means to be alive.

That’s about the best synopsis for the series I could come up with, because be warned, it does get hard to follow sometimes. I watch a lot of sci-fi, both anime and the kind with the real people in it (*gasp!*), and even I scratched my head a few times. That being said, due to how beautifully shot, animated and scored the whole show is, I never got annoyed, and was certainly never tempted to turn off. The voices are low key (in both languages, for the record), the shading switches from overemphasized black to swirling colours and shapes, written messages appear on screen like an old silent movie, and more often than not, no music plays in the background, instead often replaced with an eerie hum from power lines, almost hinting at The Wire being a living thing. When some background music does kick in, it’s often tense or has that synth-filled cyber-punk feel to it, though, like I said, these moments are few and far between.

I think the most interesting thing about watching Serial Experiments Lain in 2017 is how close we are to living in the cyber-punk-esque world presented in the show. People have what closely resemble smart phones and some of the what-if horrors of the “increasing internet craze” include shadowy groups of people joining up without having ever met each other, and the idea of having personal information stolen and released to other people’s amusement. The whole idea of losing yourself in a virtual world while sitting in front of a monitor was even ahead of its time, really. Throw in some very nostalgic late-90s UFO conspiracy stuff on top, and you have a fun setting very much written in the past, but unsettlingly bang-on in terms of a potential future, which makes for an odd, but enjoyable, viewing experience.

All that being said I personally couldn’t give Lain the perfect score because I do feel that there were a few points in the show where it might have gone a bit too abstract or confusing, and rather than being brilliant and paying off, it was clearly there just to be a bit weird or odd. These moments are very rare though; it just sometimes feels they were being artsy for the sake of keeping up the offbeat tempo, rather than it serving a purpose.

The opening is “Duvet” by Jasmine Rodgers and Boa (the whole song is in English, which is odd, but it fits the weird imagery that accompanies it), while the ending is “Distant Scream” by Reichi Nakaido. The extras are the original adverts for the show, along with the standard clean opening, ending and some trailers. The shot of back of the box shown on the website and official MVM website itself currently list the show as 16:9, but it is very much 4:3, which should be obvious given the time it was created.

Do I recommend Serial Experiments Lain? Yes, I do, though if you watch it and say, ‘I didn’t get it and I turned it off’ I wouldn’t blame you, though I think if you stick with it to the end you’ll either find yourself satisfied or going over the series in your head for a few days before watching it over again to “make sure” of things. It is very much an anime that you could point to as a “classic” or a “work of art” within its genre, one that someone could watch and write a whole essay on. At 13 episodes, I say give yourself a couple of nights, possibly watch it alongside a friend or family member so you can discuss it for a long, long time.

Title: Serial Experiments Lain - The Complete Collection
Publisher: MVM Films
Genre: Cyberpunk, psychological horror, science fiction.
Studio: Triangle Staff
Type: TV Series
Original vintage: 1998
Format: Blu-Ray and DVD (DVD version reviewed)
Language options: Japanese audio with English subtitles and English dub audio
Age rating: 12
Running time: 325 minutes

Score: 9/10

Heavy Object Part 1 Review

In the distant future, the nature of combat has changed. Wars are no longer fought with human combatants but instead with Objects, massive spherical tanks, impermeable to standard weaponry and armed to the teeth with the very latest in destructive firepower. However, all of that stands to change when Qwenthur Barbotage, a student studying Object design, and Havia Winchell, a radar analyst, are suddenly plunged into a battle of unwinnable odds when a plan goes awry. With nothing but basic equipment and their wits, the duo scramble to save themselves as well as the lives of their fellow soldiers from certain doom at the hands of an Object, changing the world’s perception of the behemoths forever in the process.

Normally, when you think about the mecha genre in anime, your mind generally jumps to shows like Mobile Suit Gundam, with giant humanoid robots tussling it out with each other with giant laser swords and the like. Honestly, it’s really quite disappointing just how rare it is to find a show that doesn’t fit into those preconceived expectations of what a mecha anime is. Enter Heavy Object, an adaptation based on the novel series from author Kazuma Kamachi, creator of A Certain Magical Index and A Certain Scientific Railgun, which might be the first entry into the mecha genre I’ve seen that I can call fresh in quite a long time.

Although the two series are very, very different in most regards, when it comes to the general premise of each episode, the most obvious comparison that comes to mind is Metal Gear Solid, to the point where I’m certain the first three episodes being set in Alaska had to have been some sort of reference to the first entry in the illustrious game franchise. Each short arc tends to centre around Qwenthur and Havia sneaking around a variety of locations, on stealth missions attempting to take out these nigh indestructible Objects on their own. It’s this general premise that made me really like Heavy Object, because whilst it is still a show all about mecha, the majority of the running time isn’t spent on watching the protagonists’ mecha dispatching Grunt mecha in increasingly similar and trite scenarios, but instead has the two lead characters having to think on their feet in order to save the day. Nothing against the likes of Gundam of course, but it is just really refreshing to see a mecha show that differentiates itself a bit from what everyone else is doing. The whole series also is just generally a lot of fun to watch, which is mostly due to two very likable and energetic leads, as well as a light tone and a genuine sense of adventure that is conjured up via the globetrotting nature of the series, as our protagonists go from the icy tundras of the Antarctic to tropical locales such as the Oceania or even naval battles in the Mediterranean.

One of the only real downsides to Heavy Object is whenever it tries to squeeze in attempts at ecchi comedy because it doesn’t work, as it rarely does. Any and all attempts at jokes of this nature fall flat, offering nothing really new or funny, and just being quite cringe inducing. There’s also this off-putting recurring gag (?) where Qwenthur and Havia’s superior, Frolaytia, seems to reward the duo’s efforts with a peek up her skirt, or the promise to stomp on one of them for sexual gratification. It didn’t really affect me too much, but I could certainly see it making some people uncomfortable.

The only other lacklustre element comes from the characters in general. Although they are fun and likable, as I mentioned, they are painfully lacking in any sort of depth. You can call Qwenthur the ‘Heroic One’ and Havia the ‘Pervy One’ and not be oversimplifying their characters at all. Havia does become a bit less of a coward later on in the series, and he does get one nice moment of character at the tail-end of one of the episodes, but neither of the pair ever receives anything really substantial. The only character who does receive anything of the sort is the Frolaytia, who gets a backstory at the end of this first half, that is surprisingly dark considering the tone of the rest of the series, but does work in fleshing out her character. I can only hope that the other main characters receive the same kind of treatment in the show’s second half.

There is also something of an attempt at a romance between Qwenthur and Milinda, the pilot of an Object in possession of the nation that Qwenthur and Havia fight for, but it’s incredibly half-hearted and barely even worth mentioning. Qwenthur and Milinda rarely have any screen time together, and when they do, the chemistry between the two is incredibly sparse. Again, perhaps this element will gain more focus during the show’s second half, but I’m not holding my breath.

Animation for Heavy Object is a joint effort between JC Staff (A Certain Scientific Railgun, Toradora, Azumanga Daioh) who handle all the 2D animation and SANZIGEN (The Heroic Legend of Arslan, Black Rock Shooter, BBK/BRNK) who focus on the 3D elements. Working together, the pair manage to create a fairly good-looking show, with some very impressive looking CGI that doesn’t look out of place like the majority of CGI in anime tends to.

Funimation UK’s release of Heavy Object contains both the Japanese audio as well as an English dub track, and, overall, I was very impressed with the quality of the dub. Led by Justin Briner (My Hero Academia, The Heroic Legend of Arslan, Drifters) and Micah Solusod (Brother’s Conflict, Blood Blockade Battlefront, Soul Eater) as Qwenthur and Havia respectively, I think the two have a lot to do with how instantly likably the characters come across, which helps carry the whole show. The supporting cast also includes some good performances from the likes of Morgan Garrett, Alexis Tipton and John Michael Tatum.  

Keiji Inai and Maiko Iuchi both provide music for the series, which seems to alternate between a traditional orchestral score, electronic, almost dubstep-like music, and heavy rock, which make for a pretty great and varied soundtrack. The opening for Heavy Object is “One More Chance!!” by ALL OFF, which I was a huge fan of. It manages to combine heavy metal and J-Pop, which you wouldn’t really think would work well, yet it manages to be infectiously catchy. The ending is a softer sounding track, but is still really enjoyable, although I’m not sure exactly how well it fits with such an action heavy show.

Extras included on this release include a clean OP, a clean ED, trailers and commentary tracks.

In Summary

As long as you can put up with a bit of less-than-stellar comedy, the first half of Heavy Object delivers a large dose of unique and incredibly fun mecha action.

Title: Heavy Object Part 1
Publisher: Funimation (via Anime Limited)
Genre: Mech, Action, Military, Sci-fi
Studio: J.C. Staff, SANZIGEN
Type: TV Series
Original vintage: 2015
Format: Blu-Ray
Language options: Japanese audio with English subtitles and English dub audio
Age rating: 15
Running time: 300 minutes

Score: 8/10

KonoSuba: God’s Blessing on this Wonderful World Season 2 Review

This time last year I sat down to review the first season of KonoSuba (a review you can read here) and at the end of the article I mentioned how excited I was for the second season. Fast forward a year and I’ve just finished watching Season 2. Has it held up to my original love of this fantasy anime?

The short answer to my question is yes: I am still deeply in love with this whacky comedy. This season kicks off with Kazuma and his party of idiots (Aqua, Darkness and Megumin) in deep trouble. It turns out that during the heated battle that took place at the end of Season 1, the team managed to destroy a nobleman’s mansion. Kazuma is quickly arrested and put on trial (a trial that cheerfully parodies the Ace Attorney series). Nothing could go wrong, right?

When Kazuma is put on the stand, many crimes seemingly come to light (although most have been committed by his party members!) and with only Aqua and Megumin to defend him (who quickly give up on the idea)  things can only go from bad to worse. It’s only when Darkness uses her own name as a noble that Kazuma is saved from certain death and lumped with a massive debt to repay instead. He might now owe millions and has had all of his belongings seized as partial repayment, but at least he’s alive and we’ve been welcomed back to this world with a bang.

This season follows the trend of last season with mostly self-contained stories early on and then one final big arc to finish the series. KonoSuba has always been at its best when the tales are short because it means the odd episode that you might not enjoy doesn’t spread into the following week – although unenjoyable episodes are overall less of a problem than last season. On the whole, the stories are a lot more fun (and sometimes even genuinely moving), offer ample character development and, most importantly, continue to show just how useless our team of adventurers are.

Although our cast are still pretty useless, between this season and last they have made some progress as a team. Kazuma and Aqua have both learnt new skills since we last saw them and Megumin, although still limited to a single explosion a day, has also powered up. It’s not just their skills that are improving, as it’s quickly apparent that their teamwork is also getting better and Kazuma better fits the leader role he fills.

This season offers an arc dedicated to Darkness and explains some more of her backstory, something I was very happy to see as until now we’ve not known much about her life. Meanwhile, the final arc of the season spends quite a lot of time with Aqua and Wiz, who again we’re glad to see more of. This is especially true for Wiz, whose introduction story last season was told in flashbacks in an effort to save time in the anime.

My only major complaint is down to Megumin, who is given a story arc involving a childhood friend. Once the episode involving their story is finished, Megumin’s friend, Yunyun, is mostly pushed aside and not seen again for any great length of time. Perhaps because of Megumin’s inability to produce anything but one explosion a day, she is also shelved for the majority of the season and only used for a few comedic scenes despite the fact that she’s usually always present. At least they gave her a new companion in the form of a cat, Chomusuke, to keep her busy, who is presumably the adorable mascot of the series now. It’s not that Megumin’s character feels undeveloped or lacking, it’s simply that she is my favourite among Kazuma’s team and I’m just disappointed that we didn’t see more of her.

It has to be said that overall the second season is very satisfying and the conclusion delivers one of the best anime endings I’ve seen in quite some time. It doesn’t finish off the overall KonoSuba story (the novels are still on-going in Japan), but it finishes off the tale it set out to tell very well while leaving the door open to return to this world someday.  The final episode is full of the silly humour I’ve come to love the series for, but most importantly it also shows just how much the characters have progressed as a team. Above all else, it’s just good fun.


The series has once again been handled by Studio DEEN and where animation is concerned the show does seem to have been given more budget (and it has to be said that the final episode looks much better than anything else the series has ever put out). Despite this newfound budget however, the animation is still terrible. The first episode is all over the place and even once things become more stable, it’s clear that DEEN have made a stylistic choice to lean into the idea of KonoSuba never being the prettiest show in the world. Character designs on the whole are smoother and I think the world has more varied colors and looks sharper, but overall things haven’t changed much at all.  I commented in my review of the first season that the poor animation adds something to the charm of KonoSuba and I still firmly believe this because fixing up the animation might have ruined the fun a bit.


When it comes to the music, composed again by Masato Kouda, things haven’t changed much since the first season. The soundtrack isn’t something I’d listen to away from the show itself, but within context it does wonders to ramp up the action scenes and play into the silliness of everything. The opening theme “Tomorrow” has been provided by Machico, who also worked on the Season 1 opening, and I have to say it’s a brilliant track that really captures what KonoSuba is to me. The animation for the song sees our heroes embark on a quest and throughout we’re shown the various trials and tribulations they face before they return home, bruised but successful. I love it. It’s fun and really sets up well for the show. The ending theme is “Ouchi ni Kaeritai”, sang by the voice actors for Aqua, Megumin and Darkness much like with the first season ending. The song is a slow and more somber affair than the opening but it works in contrast to the fast pace of the anime. It also wins points in my favour for featuring the flying cabbages in the animation (that I adored in the first season).

All of the voice actors do a wonderful job in their roles but my personal highlights this season are Jun Fukushima (Shoukichi Naruko in Yowamushi Pedal, Shinsuke Chazawa in Shirobako) as Kazuma, who manages to go from a very deadpan tone of voice to utter hysterics in seconds, and Sora Amamiya (Touka Kirishima in Tokyo Ghoul, Elise in Bungo Stray Dogs), who plays Aqua and manages some pretty impressive screaming for the goddess.

KonoSuba Season 2 certainly hasn’t left me disappointed and I highly recommend it to fans of the previous season. With many tales still left to tell in this Wonderful World (the anime series has only adapted four of the ten light novel volumes released in Japan), I hope that we get a season three sometime in the future. Even if the show doesn’t return, I think this wouldn’t be a bad way of ending it because the conclusion is so strong. My only hope now is that someone finally licenses the series for a release on Blu-ray and DVD in the UK (preferably with plush cabbages). Whatever happens, KonoSuba remains a firm favourite in this reviewer’s heart.

Title: KonoSuba - God's Blessing on this Wonderful World! Season 2
Publisher: Crunchyroll (streaming)
Genre: Comedy, Fantasy
Studio: Studio Deen
Type: TV Series
Original vintage: 2017
Format: Legal stream
Language options: Japanese audio with English subtitles
Running time: 250 minutes

Score: 9/10

Review of Re-Kan!

“I see dead people – behind my girlfriend’s back.” – Matt Kirshen

Hibiki Amami is a very friendly girl who is about start her first year at Hanazuka Public High School. On the way to her first day at school another student, tsundere Narumi Inoue, spots her walking across the road – or rather, trying to cross the road as some sort of invisible force is dragging her back. Inoue helps Amami, and when she looks down at Amami’s leg she sees it has hand prints on it. A reflection in a nearby mirror reveals some sort of ghostly figure crouching down by the leg.

The answer to what is going on is this: Amami has a sixth sense (in Japanese, “re-kan”) and is able to see dead people, ghosts and all kinds of spirits. She has been able to since birth and inherited the ability from her mother Yuuhi, who died when Hibiki was born. Hibiki was thus raised just by her father Asahi, a man so easily frightened that his hair turned white with fear shortly after he met Yuuhi.

Hibiki Amami, on the other hand, has become incredibly friendly with all the ghosts she has met, helping those spirits in need, providing them with offerings when needed. These spirits range from Hanako, a girl who haunts the girls’ toilets at the school; the Roll Call Samurai who died of hunger and begins protecting Amami as soon as she fed him; a perverted cat who is constantly trying to look at girls’ panties; the Earthbound Spirit who is bound to a sign in the town’s park; and the trendy (for the 1990s) Kogal Spirit who gets friendly with Amami after possessing her in an attempt to making peace with her mother.

While Amami is perfectly friendly to these ghosts, Inoue is utterly petrified of them or anything supernatural. Despite this, Inoue ends up being placed behind Amami in class and thus comes into close contact with spirits that at first only Amami can deal with – the spirits also including that of Inoue’s grandmother who is constantly following her.

Soon however, Amami and Inoue make friends with other people in their class who become involved with Amami’s supernatural escapades: there’s Kana Uehara, who runs a supernatural blog and is able to see the ghosts whenever she photographs them on her mobile phone; Uehara’s childhood pal Kyoko Esumi, an ex-delinquent who used to beat up troublemakers near to where she lived; Makoto Ogawa, a seemingly normal girl apart from her huge collection of scary zombie dolls; and Kenta Yamada, an overly-cheerful boy who is often on the rough end of Esumi’s anger – a fact not helped by the fact that his older brother is a cop who once had a “thing” for her.

The most noteworthy thing about Re-Kan! is that, although it is a comedy, it is possibly one of the saddest comedies around. Because all the stories involve ghosts, many of whom are recently departed, often the stories are about helping the ghost get into heaven. This often means interacting with their still-alive family and friends before the ghosts bid them a final farewell. These are pretty dark subjects for a comedy show.

Most of the actual comedy comes from Inoue’s over-the-top reactions to anything ghostly, or Yamada’s general idiocy which normally sees him get clobbered. However, the comedy often ends up coming second to the tragedy. Nowhere seems to refer to Re-Kan! as being tragicomic, but to me that is the best description for it.

Most of the action is focused on the characters and it is the ghosts who make for the more interesting viewing, especially in the later episodes as a rivalry appears to develop between the Roll Call Samurai and the Kogal Spirit for Amami’s affections, but all the way through there is good stuff from the duo, especially the way they relate to Amami. One of the best sequences is Amami making some knitted gifts for her ghost friends, the oddest of which is a knitted lavatory seat cover for Hanako.

The artwork, however, is slightly peculiar, and you can tell it is just by the cover of the DVD/Blu-ray. The odd thing is that although Uehara and Esumi’s hair covers one of their eyes, you can still see the eye that covers it. I don’t know if there is a technical name for it (if there is let me know), but this seems to be a thing that is happening pretty frequently in anime: namely, that if something blocks a character’s face, the face will still be visible and thing that is blocking it either disappears or has no affect. For example, in Haikyu!! the net will suddenly have a huge hole in it if the character is directly behind it, or in Free! if Rei Ryugazaki’s in profile, the bit of his glasses frame that would normally cover his eyes suddenly vanishes. For now, I’m referring to this as “face space”, but as I said, if there is a proper term for it, let me know.

The contents of collection are limited. There is no English dub, and the only extras are textless opening and closing, but neither of them, “Colourful Story” and “Kesaran Pasaran”, both performed by the voice actors who play Amami and Inoue, are that memorable.

Re-Kan! is a decent enough series, but remember that it is not a laugh-a-minute show. But it will vary from viewer-to-viewer. What do you re-kan? (Sorry, couldn’t resist making the pun)

Title: Review of Re-Kan!
Publisher: MVM Films
Genre: Comedy, Supernatural
Studio: Pierrot+
Type: TV Series
Original vintage: 2015
Format: Blu-Ray and DVD (DVD version reviewed)
Language options: Japanese audio with English subtitles
Age rating: 15
Running time: 325 minutes

Score: 6/10

Mikagura School Suite – The Complete Series Review

So, see if you can follow me on this one. Mikagura School Suite is an anime based on a light novel series by the band Last Note. that was itself based on their own Vocaloid-assisted songs. Now not being full acquainted with the music scene in my own country, let alone Japan, I wasn’t actually sure what that meant, apparently it just means Last Note. (who have a full stop at the end of their name just to annoy people who use auto correct grammar) wrote the songs via a computer program, including the vocals being done by said program, and released them. They then wrote a light novel series “based on the songs” (which is odd because songs are short and don’t really open themselves up well for novelisation) then these light novels were adapted into this 12 episode anime series. Got that? Good.

The series at its heart is a light-hearted slice of life-style comedy, but with weird and super-powered things happening around the place. Slice of weird life? Anyway, our lead character is Eruna Ichinomiya, a hyper-active young girl who seemingly falls in love with pretty much any woman she sees, whether it be on her portable gaming system (that is clearly just a PSP, but you know, rights issues etc), in her head, or in real life. It’s nice that the fact the lead is a lesbian is not pointed out as weird or perverse, nor is it played up to give horny real-life teens some … imagery, it’s just… she’s your classic over-the-top horny teen who happens to like girls. It’s a rare act of maturity, in a series that’s anything but mature! Anyway, she has trouble picking a high school to attend until her cousin shows her a pamphlet of Mikagura Academy, featuring attractive student Seisa Mikagura in it, so that immediately “inspires her” to sign up for it. After a surreal test which includes a floating, talking cat (which doesn’t seem to phase her much) she is accepted.

What Eruna doesn’t realise, however, is that the school has a strange set- up: every student has to join a club and each club battles the others in over-the-top shonen-style battles with powers based on whatever club they’re a part of. Accommodation, food and other things are based on what club you’re a part of and where that club stands in the school rankings. During the battles each participant has three hearts appear above their head; once all three are destroyed, they lose. It’s like a weird Dragon Ball-esque version of Mario Kart’s battle mode. As amusing and occasionally really well animated as these fights are, they aren’t the focus of the show, and for a while in the middle they just don’t feature at all.

The focus of the show is seeing Eruna going from someone only interested in the fantasy girl on her not-PSP dating sim to slowly gathering a large group of friends that she loves hanging out with. That’s really the main story. There is a storyline about Eruna’s ancestors and hidden powers locked away and so on, but it isn’t given any real importance. Some of the friends she gathers have backstory, even tragic backstory, that adds a little to them, but once again it’s never really necessary, often being created so they can have a quick fight before going on to the next comedic adventure. Her group includes: previously mentioned stoic shut-in Seisa who slowly comes out of her shell; Otone Fujishiro who is similarly anti-social but quickly comes around; smiley and bubbly Himi Yasaka of the Calligraphy Club; Eruna’s perverted cousin Shigure Ninomiya and Kyoma Kuzuryu of the Art Club, who is blunt and intimidating, but nice when you get to know him. There are a few more, mostly from the Drama Club, but I’d be here all day.

The Opening is “After School Revolution” in which the music and lyrics were done by Last Note. themselves, but the performance comes from a trio known as Hōkago Rakuen-bu. There are three Endings, either done by all three Hokago Rakuen-bu or just one member of the trio, which are After School Stride for Episodes 1, 9, 10, 11 and 12, Paradise Fanfare for Episodes 2-7, and Naked Candy for Episode 8. Why a 12 episode series needed three endings I can’t tell you, but I guess given the origin of the series can be traced back to a band writing songs on a computer, it makes a sort of sense. The English dub is as accurate as you can get, the FUNimation cast do their best to match the over-the-top shouty rants that somehow don’t sound as bad when they’re done in Japanese, but in English… it tends to get old – and loud – fast. Still, several of the voice actors, some of whom also acted as directors or in script adaptation, appear in a set of episode commentary tracks for Episodes 9 and 10, which is a nice change from the usual clean Opening, Ending and trailers you normally just get (which are present here as well, for the record).

In summary, Mikagura School Suite is a perfectly fine distraction. For 12 episodes you get plenty of humour and crazy over-the-top reactions, plus you occasionally get a good super-powered fight thrown in. However, there are obviously many better examples of this kind of school-based slice-of-life comedy out there, so maybe this is for diehard fans of the genre who love to watch and collect them all, rather than someone dipping their toes into this part of the anime world for the first time. If you’re in it for the action you’ll be disappointed, but one look at the title and box art should have told you what you were getting! To sum it up, the show is fun in parts, slow in others, making it a solid show to watch; just don’t buy it expecting it to blow you away, instead buy it to have something to relax to for a few days.

Title: Mikagura School Suite - The Complete Series
Publisher: Funimation (via Anime Limited)
Genre: comedy, slice of life, action
Studio: Doga Kobo
Type: TV Series
Original vintage: 2015
Format: Blu-Ray/DVD combo pack (Blu-Ray version reviewed)
Language options: Japanese audio with English subtitles and English dub audio
Age rating: 12
Running time: 300 minutes

Score: 7/10

Review of Brothers Conflict

World-famous adventurer Hinata Rintaro is newly engaged to successful fashion designer Miwa Asahina, so to give them some privacy, Rintaro’s daughter, Ema Hinata, decides to move in with her soon-to-be-step-brothers, all thirteen of them. Inside the huge mansion full of people, Ema finally feels like she has the family she can turn to; however for the boys all they see is the one person they have been looking for to spend the rest of their lives with…

From the looks of the cover art and screenshots, with the boys all having crazy anime hair plus the description of the series above, it would be easy to write off all thirteen brothers as one-dimensional trope-ridden characters who only serve as cheap love interests for the heroine and the audience to latch onto. However, whilst calling them all ‘one-dimensional’ wouldn’t be entirely incorrect, arguably it’s the brothers themselves that are the strongest element of the series.

First of all, you can’t deny that there isn’t a lack of variety in eye candy and due to the diversity of personalities, it’ll be easy to find at least one male that an audience can get behind or perhaps represent a type they like. Want a hard-working calm man who happens to be an excellent cook? Ukyo is the man of your dreams. Fancy some brothers that are very close, similar to the twins Hikaru & Kaoru from Ouran High School Club? Feast your eyes on Tsubaki and Azusa. Do you like Christian Grey from the Fifty Shades series but wish he was a young teen pop idol instead? Look no further than Futo.

Secondly; the brothers do act like they’re a close-knit family by taking fun jabs at each other, encouraging one another at their jobs and, of course, all having the romantic capacity of an old-school Disney princess – they don’t just like Ema, they fall head over heels in LOVE and want to spend the rest of their lives with her!

Thirdly; it also helps that not all thirteen brothers are the same age; it would have been easy (also lazy) to have them High School age but they actually range from 31 to 10 (the youngest one is kept out of romantic race… for the majority of the time) and they all have different jobs, from the down-to-earth doctor to the dream-job game designer. This creates opportunities to not only stay away from the typical school environment, but also for the heroine to spend time with each brother individually (as they all have different schedules), learn about their specific passions and give each male time to shine on their own. Due to the nature of the genre and shortness of the series however, some brothers get more screen-time than others and a few fail to get any quality time with the heroine. For example, it seems weird that Yusuke, a boy who has apparently known Ema for several years before the start of the series, never gets the opportunity to truly confess his feelings. This counts double for the tenth brother Iori, who is easily forgotten about due to having the same silver hair as his brother Tsubaki and being shoved into the background from the start. Lastly, there’s no denying that the story is very rudimentary and predictable, and comes with a truly terrible script. But thankfully, at the best of times, the script crosses the line into hilariously awful territory, so we get golden scenes of cross-dressing Hikaru practically trolling his helpless brothers which always provide a laugh, random dream scenes where the brothers have laugh-out-loud proclamations of love for Ema, and some frankly poor but hysterical lines, my personal favourite being: “I’ll protect you from the ultra-violet rays…with my lips!” (That’s from the English dub, but the original Japanese line is not far off from that either).

The object of their affections is, of course, the heroine Ema who plays as audience surrogate. Normally in these reverse-harem situations the main girl is the self-insert and therefore lacks personality, which works fine in video games where dialogue and actions are decided by the player, but they never cross over well into other fiction where the choice is gone. Ema is not as bland as, say, the heroine from Amnesia (whom you could replace with a googly-eyed sock puppet and not notice the difference); Ema does have SOME urgency and character of her own, however small. She works hard at her exams to get into the college she’s passionate about, loves video games and expresses interest in helping around the house.

However, when it comes to the interactions with the boys, and their individual confessions of love, any semblance of personality goes completely out of the window. It doesn’t seem like it at first; in Episode 1 she accuses perverted monk brother Kaname of ‘being a tease’ when he puts the moves on her, but from then on she merely acts as the ‘nice girl’ card-carrying character to the brothers and does nothing outside of blushing and remaining silent when the boys proclaim their love. If they kiss her she just lets them, and despite the swooping music and cheesy-as-hell dialogue from the boys, in the very next scene or in some cases next episode (if the confession was at the end of one) Ema and the other brothers continue as if nothing has happened; the status quo hasn’t changed and Ema stays oblivious to the boys’ painfully obvious affections. This kills any sort of romantic tension or drama that the series could have carried because Ema just acts so stilted and ignorant throughout it all.

This plays out in part with the ‘dates’ the characters go on; Ema is taken to a video games arcade, a fun fair and other colourful places, but the most we see of it is the beginning of the trip, and then fast forward to the end where the boys proclaim what a good time they’ve had… shame the audience never actually gets to see it or any possible development of chemistry. Then there’s the time scale over the course of the series; easily a year flies by throughout Brothers Conflict (e.g. Episode 10 takes place in the summer, whereas Episode 11 is at the end of January) but it doesn’t feel like it because the scenes feel so small, and the aforementioned lack of tension isn’t carried over, so nothing feels consequential or meaningful in any capacity. So, for instance, you have a weird situation where a boy confesses to Ema that he loves her in January, then the next episode takes place in the Spring, and only then does she finally do something to address it. I can’t imagine many people happily waiting at least 4 months+ for the object of their affections to finally get their act together and tell them yes or no.

Ema isn’t the worst thing about the series however; that honour goes to her pet squirrel Juli. He’s Ema’s constant companion and she just so happens to have the ability to communicate with him, so the audience hears Juli ranting over the boys fighting over her, as well as supporting Ema. However, his dialogue ranges from annoying to unfunny to sometimes offensive in places. Thankfully, the anime gently phases him out towards the halfway point, but every now and then he pops back just as the audience has forgotten him to remind us he’s still around, or worse, the anime gives him a human form (no, really).

Extras are plentiful and spread evenly across the discs; the given clean openings/closings and trailers are there but also commentaries for Episodes 9 and 12 plus 2 OVAs (Christmas and Valentine’s specials) plus an extra episode where the boys get a hold of a magic lamp. So if you do invest in the series you’ll be please to know that you’ll get everything that’s been animated and commercially available in one complete set, which is more than can be said for other, bigger franchises.

It’s important to note my review is based upon the DVD version of the series, which was cancelled not long before the eventual Blu-ray release of the series was confirmed, so my feedback on the animation quality may not truly reflect what the Blu-ray edition has to offer, however I cannot imagine it being any less lazily animated. Brains Base has done great work in the past (Penguindrum and Innocent Venus to name just two) but they really phoned it in for Brothers Conflict. From still backgrounds with lips barely moving filling up whole dialogue scenes, characters having backs turned to camera to save on animating more than one set of lips (in the Valentine OVA one character barely has a shoulder in the frame, so the brothers are practically talking to someone OFF camera), both opening animations take place on a plain white background and the first closing song animation is made up mostly of clips from the show. It wouldn’t be surprising if the previously mentioned abrupt dates were cut to save on animating anything stressful. The character designs are nice and mostly easy on the eyes, especially the heroine who does look quite pretty in several scenes, but they all barely move; this is not a great representation of Brains Base’s work.

The music score is provided by Takeshi Nakatsuka who compliments the rom-com vibe of the series with a soundtrack that varies from heart-pulling strings to comical jazz. “BELOVEDxSURVIVAL” is a serviceable pop/rock opener by Gero, with the OVA opening song “MY SWEET HEAVEN” by the same artist being near-identical to the first opening. But if you want to cringe in your seats or just burst out laughing, watch the ending themes “14 to 1” for the series or OVA ending song “I Love You ga Kikoenai”, both by Asahina Bros + Juli. Yes, it’s the Japanese cast of the brothers and the squirrel singing terribly cheesy pop about loving the main girl. It’s as terrible as it sounds.

Despite being a silly harem story the English dub does have a lot of high calibre male talent from the likes of J. Michael Tatum, Kyle Hebert and Vic Mignogna lending their voices to bring the rom-com scenes to life. Even Colleen Clinkenbeard tries her best to make the female lead as interesting as possible despite the script not always reflecting it.

Brothers Conflict is tricky to recommend because it swings back and forth between ‘so bad it’s good’ to ‘just bad’, sometimes within the same scene. If you want a safe purchase, a definitive ‘good’ example of a male harem then the likes of Fruits Basket and the already mentioned Ouran High School Club are better examples to put money towards. However, if you have a good sense of humour, thrive in potentially hilari-awful series and are happy to take the cons/pitfalls of the genre, then Brothers Conflict has a lot of laughs to offer.

Title: Brothers Conflict
Publisher: Funimation (via Anime Limited)
Genre: Harem, Romantic Comedy,
Studio: Brains Base
Type: TV Series
Original vintage: 2013
Format: Blu-Ray and DVD (DVD version reviewed)
Language options: Japanese audio with English subtitles and English dub audio
Age rating: 15
Running time: 300 minutes

Score: 5/10

No-Rin Review

Idol-obsessed farm boy Kousaku Hata is devastated when his favourite idol and dream girl Yuka Kusakabe unexpectedly announces her immediate retirement at the peak of her career. Taking the news hard, Kousaku spirals into a depression, locking himself in his room, which his fellow students at the Tamo Agriculture school try to bring him out of. On the day that he starts attending classes again, Kousaku gets an unexpected surprise as his beloved idol, under the guise of Ringo Kinoshita, transfers into his class. Taking advantage of this once-in-a-lifetime opportunity, Kousaku decides to get close to Ringo, and uncover the reason for her early retirement.

No-Rin, a 2014 anime adaptation of the series of novels by author Shirow Shiratori, is a show that I suspect has the potential to be extremely polarizing. This might kind-of go without saying, given that comedy is normally very divisive, but No-Rin’s particular brand of sex-based humour is something that I could almost certainly see people turning their noses up at, or totally dismissing out of hand, and I wouldn’t blame them. Whether it be a character being lovingly nicknamed as ‘Tits McGee’ or a lengthy conversation about the phallic nature of Egg Plants (and that’s just Episode 1!), the comedy present isn’t exactly what you’d call highbrow, but I suspect it is the brazen and unrepentant sex jokes that made me love it a whole lot.

Yes, as much as it might make me sound as mature as a twelve-year-old schoolboy, I had a lot of good laughs whilst watching No-Rin. The gags I mentioned before are just the tip of iceberg when it comes to how far No-Rin seems to push the boundaries, and I was really taken off-guard by how far it goes at times, with some quite raunchy jokes that I dare not spoil here. Needless to say, it’s the biggest draw the series has, and if the humour doesn’t sound like your kind of thing, I’d very much advise you to stay far away. However, if it does sound like something that you might like, I could recommend it on the comedy alone.

However, despite the big focus on comedy, No-Rin actually tries to do a little bit more by throwing in a bit of romance too, which, whilst a good attempt, isn’t really too successful. Although I think that the protagonist Kousaku and Ringo have some good chemistry together and there are some genuinely sweet scenes sprinkled throughout, the way the show itself approaches romance and the less comedic elements in general, needs some work. The biggest fault is the fact that all the jokes seem to dry up whenever there is any kind of character or relationship development. I don’t just mean in the moment itself, which would be fine, but in the slightly more character-focused episodes, the jokes aren’t anywhere near as frequent as in the other episodes. This is especially noticeable in the last two or three episodes, where the comedy almost fades out entirely. Granted, I think that actually giving the characters a little bit of backstory and depth is good and might be worth losing a few jokes for, as it is an area that most comedy anime seem to totally avoid, so I have to give it props for that. However I just wish we could have had the best of both worlds, with a few more serious moments whilst not sacrificing the comedy. Another trap that the series falls into is that the ending is inconclusive and rather unsatisfying, but such is the danger of adapting from ongoing source material.

No-Rin’s animation is handled by Silver Link (Fate/Kalied liner Prisma Illya, Watamote, Yurikuma Arashi), who, as far as I’m concerned, might just be one of the most underrated anime studios currently active. Whilst they may not have the unique and distinct style of Shaft or the insane levels of detail of Kyoto Animation, their work is always high quality, and has a ton of energy behind it, and No-Rin is no exception. I also really love how the animation occasionally switches style giving it a lot of visual diversity. From an old school video game to a manga, even an impromptu tribute to Sailor Moon, Silver Link certainly cram in a whole host visual styles, making No-Rin a visually interesting series to say the least.

Funimation UK’s release of No-Rin comes with both and English and Japanese audio, and I’m quite a big fan of the dub for this series. Austin Tindle (Is This a Zombie?, Gonna Be the Twintail, Attack on Titan) voices the lead Kousaku, and does so with boundless enthusiasm, imbuing the role with the energy needed to make a lot of the gags work. In stark contrast to Tindle’s energy, Jad Saxton (Fairy Tail, High School DxD, Miss Kobayashi’s Dragon Maid) delivers an excellent low key performance as the nigh emotionless Ringo. The supporting cast is also great, including some relative newcomers such as Lynsey Hale (Seraph of the End) and Derick Snow (Prince of Stride: Alternative) as well as some more established voice actors such as Caitlin Glass (Full Metal Alchemist) and Morgan Garrett (Love Live Sunshine).

Music for the series is provided Akiro Matsuda (Sound! Euphonium) and Tomoki Kikuya (Hidamari Sketch), who deliver some pretty great and memorable tracks that do a good job of capturing the general atmosphere of the series. Similarly, the OP, ‘Himitsu no Tobira Kara Ai ni Kite’ by Yukari Tamura and the ED, ‘Mogitate Fruit Girls’, by Yukari Tamura and Kana Hanazawa, who are part of the Japanese cast, also capture the tone of the series, both being full of energy.

Special features on Funimation’s release include commentaries, promo videos, commercials, a textless OP and ED and trailers.

In Summary

No-Rin won’t be for everyone, but I loved its rather unique brand of crass humour and high energy animation. Even if the romance aspect falters a bit, it doesn’t stop it from being a brilliant, side splitting comedy.

Title: No-Rin
Publisher: Funimation (via Anime Limited)
Genre: Comedy, Ecchi, Romance
Studio: Silver Link
Type: TV Series
Original vintage: 2014
Format: Blu-Ray
Language options: Japanese audio with English subtitles and English dub audio
Age rating: 15
Running time: 300 minutes

Score: 8/10

Yona of the Dawn Part 2 Review

Some spoilers ensue…

Crimson-haired Princess Yona, the only child of murdered King Il of the kingdom of Kouka, is on the run from the forces of her cousin Su-Won, who has killed her father and seized the throne. She is the reincarnation of her ancestor, the heroic Crimson Dragon King, and is searching for his four loyal Dragon Warriors, also reincarnated, to help her take back the throne from her usurping cousin (and unrequited crush). This quest is proving a harsh lesson in reality for the sheltered princess, not least as she comes to hear – incognito, of course – from her impoverished countrymen that her dearly loved father’s pacifist policies have resulted in widespread misery beyond the capital city. But Yona is made of stern stuff and determines to play her part in bringing about reform and righting injustice. She resolutely practices bowmanship and refuses to be treated like a princess by her entourage.

But what of new King Su-Won? In spite of cultivating the outwardly gentle, tea-drinking aesthetic persona that has deceived Yona and the rest of the court, the young king is out to unify his crumbling kingdom. In Episodes 15-16, the focus shifts to Su-Won and we see – through the eyes of bored and dispirited General Lee Guen-Tae of the Earth Clan – that the new king might yet prove to be a force for good and a man worthy of his loyalty.

Yona is helped by the White Dragon Kija to locate the Blue Dragon, whom she names Sinha, then the search for the remaining two dragons continues. But the Green Dragon, Jae-ha, proves frustratingly elusive and as Yona and her friends enter the port city of Awa, they soon learn that the citizens are living in fear of its brutal governor and his men. Encounters with pirates and human traffickers will test Yona to the limits of her endurance – but also help her to grow in self-confidence and maturity. By Episode 24, Yona and her four dragons entourage return to consult Ik-su, the high priest oracle, to seek his advice… and that’s where the anime version ends, leaving us, as the French so aptly say, sur notre faim. Viz Media are now bringing us the original manga by Mizuho Kusanagi in their Shojo Beat list but with only 4 volumes out in English at the time of writing and 23 so far in Japanese, it’ll be quite a while until we even catch up with the end of the TV series (Volume 8) and venture into new territory.

Much of Part 2 of Yona of the Dawn is taken up with the Awa arc, an important development for Yona in that she is shown as determined to conquer her own fears and put right some of the wrongs that have come about through her late father’s policies. Thanks to Kazuhiro Yoneda’s slick direction, the story-telling throughout is traditional but no less exciting for that, and there’s a light but refreshing use of humour as well. The creative team and the voice actors ably engage our sympathy with Yona and her followers, and it’s difficult not to get drawn in and care about what becomes of them. I recommend this series as a great watch for younger anime fans (it’s a 12) for (as with Bodacious Space Pirates) it delivers a sympathetic, relatable but self-confident young heroine. And even though there’s a little light flirting (and a great deal of joshing) the emphasis is very firmly not on ‘who will Yona pair up with?’ but ‘how will Yona get her kingdom back?’ (There’s also a great older woman role-model in pipe-smoking Pirate Captain Gigan.) However, this traditional quest may not appeal to viewers looking for more edgy fantasy fare. And it’s frustrating that the series stops just as it’s getting really interesting, proving especially tantalising with all the plotlines left unresolved. There are three OVA in Japan but these have not been made available to watch so far. Will there be a third season? Or will we just have to go and read the manga (as yet unfinished too!)?

The Funimation US dub makes a good alternative to the original Japanese cast, with a lively script. In my review of Part 1, I mentioned that Monica Rial has a tendency to veer into the shrill at times but here she brings a greater vocal range to the part, ably showing how Yona is growing up and changing. Both Junichi Suwabe and Joel McDonald convince as Jaeha, the charming lady-killer, and it’s a shame we only get to hear Josh Grelle and Hiro Shimono in Episode 24 as Jeno.

The stirring orchestral Opening Theme “Akatsuki no Yona” (Yona of the Dawn) by Kunihiko Ryo (eps 1-14) is replaced by the upbeat electronic J-pop “Akatsuki no Hana”  (Flower of the Dawn) sung by Cyntia. The gentle first Ending Theme “Yoru” (Night) by vistlip is also replaced from Episode 15; “Akatsuki” (Dawn) by Akiko Shikata features a solo on the erhu, the oriental two-stringed violin whose expressive sound has come to be associated with China. (Jae-ha is seen playing the erhu in these episodes.)

This Funimation R2 release of Part 2 comes on Blu-ray and DVD with both the English dub and the original Japanese track with English subtitles. Extras include Episode 16 & 24 Audio Commentaries, Promotional Video & TV Spots, Textless Songs and Funimation Trailers.

In Summary

Yona of the Dawn is a traditional but genuinely likable, watchable fantasy quest series with – a big plus-point, these days – a self-possessed, sympathetic heroine whose adventures should appeal to viewers of all ages.

Title: Yona of the Dawn Part 2
Publisher: Funimation (via Anime Limited)
Genre: Fantasy, Adventure
Studio: Pierrot
Type: TV Series
Original vintage: 2015
Format: Blu-Ray and DVD (Blu-Ray version reviewed)
Language options: Japanese audio with English subtitles and English dub audio
Age rating: 12
Running time: 300 minutes

Score: 8/10

Review of Love, Chunibyo & Other Delusions – Heart Throb

“Paging Mr. Delusional. You’re wanted at the front desk.” – ‘Johnny Delusional’ by F.F.S.

Things are going perfectly normally for Yuta Togashi. Well, as normal as they can be when his delusional girlfriend has now moved into his flat.

Chunibyo Rikka Takanashi is still being her odd self: wearing her eye patch to cover the eye that has a gold contact lens in it, which she believes controls her magic powers; wearing Heelys; fighting with an umbrella; and supposedly being able to open train doors simply by thrusting her arm at them when the train arrives at the station. Rikka parents are away, hence the reason why she is currently living in Yuta’s place. He is looking after the flat while his parents are away working in Jakarta.

Most of the episodes in this second series are stand-alone stories, continuing to focus on the characters in the “Far Eastern Magical Napping Society – summer thereof”, including Rikka’s fellow long-haired chunibyo Sanae Dekomori; ex-chunibyo Shinka Nibutani, who is still desperately trying to escape her past; and the incredibly sleepy Kumin Tsuyuri.

Across the series we see Yuta date Rikka at an aquarium where she has fun with dolphins and makes several references to H. P. Lovecraft; Yuta end up having to dress as a magical girl after getting a lower test score than Rikka; Shinka attempt to run for Student Council President by successfully convincing Sanae that she was her chunibyo idol and Kumin challenge another school to a napping competition.

However, there is also a new addition thrown into the mix. Rikka gets a visit from a chunibyo from another school: someone claiming to be a “magical devil girl” called Sophia Ring SPS Saturn VII, although her real name is Satone Shichimiya. She was a friend of Yuta’s back in middle school. Indeed, it was she who inspired Yuta to become a chunibyo in the first place. After a rough start, Satone becomes friends with the rest of the gang, although Rikka is worried that Satone will take Yuta away from her and becomes jealous. As the story progresses, we realise that Satone does in fact still have some feelings for the boy she still refers to as “Hero”.

The second series still has plenty of the features that made the first one so enjoyable, the main one being comedy. There are plenty of comic moments in the show, mostly visual. These range from Shinka making Sanae gag by making her eat cheese, Yuta managing to pull off his magical girl look, and Kumin trying to get her friends ready for their competitive napping. There are also some funny scenes caused by anticipation. For example, there is the way that Shinka’s chances of becoming Student Council President are horrifically scuppered by Sanae, who thinks she is being helpful. Then there are some odder moments, such as when Yuta discovers that Rikka has spent all of her allowance in a few days meaning she has to survive on almost nothing for a month, which leads to Yuta disciplining her by spanking Rikka.

The artwork is also great, especially in the “battle” scenes in which Rikka and her friends believe they are in a fantasy world and are using gigantic weapons to duel. The visual aspects in these scenes are wonderful, giving it a true fantasy feel while also mocking it.

Satone’s appearance in the series brings a new element to the show, creating a love triangle between her, Rikka and Yuta, although deep down you know that the relationship between Rikka and Yuta is not going to falter. She is still a fun character, nevertheless, but I am saddened by the fact that Makoto Isshiki has seemingly taken a back seat in this series. Most of the series sees him getting new jobs and trying to win over Kumin, but in the end a guy falls in love with him. I must confess that the way that a gay guy is just plonked into the show for comic relief did make me feel uncomfortable – although not as uncomfortable as Isshiki, I admit.

Extras in this collection include an OVA episode, a selection of four-minute anime shorts called Chunibyo Lite!, and textless opening and closing. The Opening, “Voice” by Zaq, and the Closing, “Van!shment Th!s World” sung by the four main female voice actors under the name of Black Raison d’être, are both OK, but nothing truly exciting.

If you enjoyed the first series, then Heart Throb will not disappoint you.

Title: Review of Love, Chunibyo & Other Delusions – Heart Throb
Publisher: Animatsu
Genre: Comedy, Drama, Romance
Studio: Kyoto Animation
Type: TV Series
Original vintage: 2014
Format: Blu-Ray and DVD (Blu-Ray version reviewed)
Language options: Japanese audio with English subtitles and English dub audio
Age rating: 12
Running time: 325 minutes

Score: 8/10