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Reviews
Erufen rîto (2004)
One of my favorite mangas.
Elfen Lied, one of the most famous animes in the industry, presents us with a few minutes in which he shows off the horror he is capable of offering, in addition to the event that would trigger various events that would gradually remind our protagonist Kouta, past events for not at all pleasant.
The story begins with nothing less than showing us a horror, a massacre riddled with blood and dismemberment from Lucy's attempt to escape from the facilities in which she remains captive and isolated not only from the outside world but from all human contact. Deaths happen and happen in a failed attempt to stop the aforementioned Diclonius, and while we may think it is a noble attempt not to endanger humanity such that such a monster that bullets do nothing and no man can face cannot leave here, the reality is that this is mere excuse and pretext as we said in the synopsis, to investigate it, torture it, and as could not miss, take advantage of it in order to fulfill ideas of people's own bad head.
Is it necessary to clarify that the Diclonius in question succeeds in its "mission"? Na'h, surely not. Having managed to escape thanks to the fact that, once it was enclosed by 4 walls, a door is opened by a man who acts from the shadows and apparently has control over the installations in question, it is reached by a sniper, not with enough precision to be killed but to see her frontal lobe affected and her personality divided, such that the murderer Lucy, known for killing hundreds like few, thousands of men, becomes Nyu, an innocent girl who does not even know -for the time-.
It is then, when the argument begins to develop. Nyu is found by an apparently any boy accompanied by an apparently any girl. It is at this point when I stop telling you the story and start talking about the characters. They are characterized initially by being mostly flat. Yuka, the girl who accompanied Kouta at the time, is not simply "one of the characters", but THE character who provides gratuitous selfishness and stupid actions that make little sense, beyond being justified with being a character without personality. It doesn't have charisma, we can't imagine it in some other situation that isn't shown in the series, and we can even know how it will react to "x" things.
I proceed to explain:
It's not at all difficult to imagine Haruhi Suzumiya, to give an example of a character with a great personality and charisma, reacting to anything or imagining it in, I don't know, any other universe. She has a personality, a way of being, and based on it, we can answer the question of how she would react to such a thing. This, it goes without saying, doesn't happen with Yuka, the main character who does things for the sake of it, because that's the way you want it to happen and that's the way it's going to happen.
Do you think that the characters get a personality alone, or what? That they can take a doll, make him do anything stupid, and already cultivate personality by itself? No, colleagues. From the second chapter you can see with total clarity how the above mentioned has feelings towards the protagonist, who is also his cousin (but we can not complain about this because in Japan is better seen) from God will know where. It is then, taking into account what has been said above, we also understand that the exponent of what is a flat character, also known as Yuka, will provide us with a love triangle in the company of what we will call Nyu based on the context of the chapter we are talking about.
To give an example of what has been said about Yuka without making spoilers (at least, fat), we only have to go to chapter 2, more specifically the end of this one. Kouta finds himself in the situation of having to undress Nyu, because after having divided his personality he is hardly self-sufficient. Just when he is undressing her at the bottom, Yuka comes in. You'll say, "What's up with that?" Just continue through chapter 3 and you'll see the typical frivolous attitude such that you think you're interrupting something private. Absurd considering that this character knows about Nyu and his lack of autonomy, but good. If this doesn't convince you, it's enough to mention how selfish he is in many moments when, even though he knows that it's Kouta who has suffered and can't remember a certain period of his childhood, he suddenly gets upset with him. A good example is chapter 3 when it tells him that it hates him and hits him in the face with a good host, all for free.
Nyu, in contrast to most of the rest of the cast, is one of the best characters we can find in the series, if not the best. As the plot progresses and shines brighter, so does the character of Lucy / Nyu, being that each personality ends up evolving, showing the feelings it has been acquiring or already had (I can not specify more by spoilers) and also, the background is told at the most appropriate time, giving the viewer in a sublime way the possibility of empathizing as much as possible with the main protagonist, just before coming on us the end.
And, since we are exposing how good -or bad- the protagonists are, let us now talk about the male protagonist who offers such beautiful moments together with Kaede in certain chapters; Kouta is, unfortunately, another of the flattest anime characters, and although the position of "flattest character" and it is imperative for me to mention, stupid, Yuka has taken it, Kouta is not left behind. Even so, it is necessary to emphasize that Kouta has a handicap and that is that on the basis of his past we can tolerate not feeling or suffering -at least in an open way-, simply reacting, because clearly there must be a reaction to events and actions in direct relation to his person. Even so, it does not fully justify the little personality that can be appreciated at certain moments, and it is truly a shame because, seen, what is most worthwhile about Elfen Lied is his story, and in contrast to works like Medaka Box whose pillars are his characters, in Elfen Lied the characters are his Achilles heel.
Of course, I haven't forgotten the rest of the principals. Nana is another Diclonius with noble motivations and aspirations, from which we can draw little, because he simply is and contributes enough to the plot, being above all a character who is not bad, but neither stands out even being in a cast like this, so he is simply one of the characters that, without being a protagonist, more manages to contribute to the plot.
And, as for Mayu, he is one of the most brilliant characters, but, unfortunately, momentarily. From the second half of chapter 4 is when little by little we begin to know more about her, and it is in chapter 5 when the "BOOM!" is released and we know her past, more specifically who is this character that we have been seeing since chapter 2 appearing momentarily. Her background provides a good dose of drama and, again, the possibility of empathizing with one of the characters, but what good is it to empathize with Mayu? Unfortunately, nothing for the future, given that his role can be summed up as part of the "happy family" that Kouta has set up in the company of Yuka.
But clearly not everything in the characters is bad. Leaving aside the fact that in such a cast, not bad but flat (no matter how difficult it may be to believe, flat is not directly synonymous with bad), there is positive material to take out, sometimes partially (Kouta, Mayu) and sometimes completely (Nyu / Lucy / Kaede), even though it is the Achilles' heel of the work, they are the ones who provide the psychological approach that the series offers, making them an important factor beyond what a series needs to reach something.
At this point in the review you'll be wondering if I've forgotten the technical section. Of course not! Almost at the end of 2004, Elfen Lied offers us a more than acceptable animation, with some frames that stand out and fall in love even more if we bear in mind that this is from 2004, but what really stands out is the work done by MOKA, especially in Lilium. Normally, when we talk about "what is the best thing about such an adaptation", it is usually a specific section, such as the animation, the characters, the direction, the music, ... But in this case, the best is Lilium, without a doubt, including each and every one of its variations. It's not that Arms has offered us a bad job, far from it. Taking into account that the anime finished almost a year earlier than the manga, original work, the work of Arms is quite good, but is that what MOKA did with Lilium has been simply great.
Elfen Lied is the work that until recently my interest did not call. I've known her for years and seen images of her, because I knew a young man who liked her quite a lot and put on anime images, but in spite of that, she didn't call my attention in any of the senses. Could this be influenced by the fact that I didn't know anything about Elfen Lied? Yes, I bet that's why.
It wasn't until less than 2 weeks ago that I saw the anime in a matter of a few days, and it all started with a joke. In a manganime Whatsapp group, a friend was going to see the anime based on the recommendation of another. I played the joke of saying that I would see it too, and of course, so that they wouldn't catch me the joke I went to see what this was about, at least to have something to do credibly with that I am interested in Elfen Lied. I read the synopsis, and instantly what was going to be a joke became reality. It didn't take me long to download the anime in 720p and see it, and in effect, it fulfilled my expectations, I must say great affection to Mayu (unfortunately only applicable to part of chapter 4 and 5) and Lucy / Nyu / Kaede, and contrasting with what I originally thought when comparing Kouta with Makoto.
Elfen Lied deals with a series of subjects that I quite like, such as disappointment, betrayal, the prejudices of society, the lack of empathy very noticeable in today's yo
Megaro bokusu: Megalo Box (2018)
Must watch for BOXing fans!
About a year ago was broadcast Megalo Box, a tribute that even visually seeks to honor Ashita no Joe and remember that the legend of the seventies is still alive. Reinventing what once made her great, Megalo Box puts us in the shoes of Junk Dog -also known as Gearless Joe-, an unnamed boxer who makes a living selling fights and swindling those who bet on their fights in the company of Gansaku Nanbu, his "trainer".
Megalo Box Anime
The narration begins in medias res, the setting is a cyberpunk Japan, and boxing is no longer boxing but megaloboxing, a sport in which, among other changes such as not dividing by weight categories, boxers are supported by a kind of armor called Gear. But the idea remains the same as in the work on which it is based, and such a reinvention only accentuates the contrast between those who belong to a good social class and can invest in cutting-edge technology, and those who, like Gearless Joe, can only aspire to believe in their own talent.
This is the reason why, like Yabuki Joe at the time, it would surprise a first-class coach who would see in his fists a dazzling tomorrow until now exclusive to those boxers with resources. Joe's inclusion in the ring is therefore a revolution: at a time when boxing cannot be conceived without the use of a Gear that enhances the capabilities of the user, appears a megaloboxer who denies these and in a matter of months manages to stand in the same ring as champion champions Yuri. His Gear is not to have Gear, his only ace in the sleeve is to take advantage of the absence of it and therefore the reaction time he wins against most rivals, but its essence is that of an authentic and real boxer.
Megalo Box
In any case, Joe's Nowhere team won't have it easy. The ascent to the summit of Everest is not something you do in one night, and just as going from being someone who doesn't even have citizenship recognition to a whole champion is not turkey snot. Although the path taken by Junk Dog, Gansaku Nanbu, and the most recent signing Sachio, is common to all three, each has different and disparate goals and ghosts of the past to face and will make the championship even more difficult for Joe, a hungry dog that at the time would have been an eminence but today, and considering what boxing has resulted in, is an unknown.
Megalo Box Anime
The rhythm is tight, the fact that there are only thirteen chapters is an important limitation compared to the legend that in Ashita no Joe is forged during 126 chapters, but Megalo Box stands as a work with its own identity. Although part of the grace I think lies in having seen the work to which it pays tribute and unravel the hundreds of references incorporated, Gearless Joe is Gearless Joe, Yuri is Yuri, Gansaku Nanbu is Gansaku Nanbu and Shirato Yukiko is Shirato Yukiko.
Each one may have more or less grace depending on the perspective with which you look, but their characters are based on something more than acting as parallels to a series of the last century. As a production carried out to celebrate Ashita no Joe's 50th anniversary, it is very fulfilling insofar as there are references by and for all audiences, from the most obvious such as the King of Kings nickname for Yuri to the mythical "Get up, Joe! It's meant to be a gigantic wink to those of us who have enjoyed accompanying Yabuki Joe on his journey through Japan's slums, and he gets it.
Megalo Box Reference
But he's not far behind, either. Chapters such as eleven constitute without the need to look back on experiences loaded with emotions and meaning, see Gearless Joe appearing carrying a Gear as a sign of renunciation and it is in that same ring where he will definitely become something authentic, defeating the marginality and social immobilism to which they have been subordinated until now.
Its public is not limited to fans; Megalo Box is as independent as any other, not only because it can be seen without even knowing the existence of the work on which it is based, but because it does not depend on it for its enjoyment. It doesn't try to emulate something unmatched, but stands on its own. With or without nostalgia and retrospection, it is a really pleasant and enjoyable series for which emotion is served.
Kôkyô shihen Eureka Sebun (2005)
Eureka! Masterpiece
Eureka Seven is a series that I've fallen in love with and, consequently, it's crept into my favourites like someone who doesn't want the thing. The mime with which Tomoki Kyoda and company have treated the series is spectacular and can be seen in the number of awards with which the work has been awarded. Similarly, the work of the animators around the home stretch is very much to be thanked. But what has left me in awe is not precisely the outstanding technical section, but rather what they have all contributed their grain of sand to bring it to life: the story of Renton and Eureka, two boys who will face the world to make their love a reality verified and lived.
The story begins with the school life of Renton Thurston, the son of legendary hero Adroc Thurston. There will be those to whom the tranquility and even the monotony are bearable or even to thank, but for Renton it is simply a disgust. His grandfather and legal guardian wants him to become a mechanic of his stature and lead a happy and peaceful life, without the complicated circumstances of his father's death or his sister's disappearance. But the boy, partly because of the irresponsibility inherent in his age, does not settle for so little; he wants to go to unexplored lands. Places that offer him a never-before-seen rag with which to ref boarding aboard impressive waves.
I hope that, together with the admiration he feels for the prodigy Holland, it will lead him to meddle in Gekkostate, a dangerous gang composed of little less than terrorists in the eyes of the government. In other words, in this particular case, people willing to break the law for the greater good: the good of humanity, of the planet and of everything that inhabits it.
There he will meet Eureka, a girl who is a bit out of standard and who Renton thinks of as his better half. But before she gets along with the above and becomes an essential part of Gekkostate and the piloting of Nirvash, she must acquire discipline and understand that the Gekko-Go ship is not a place to come surfing and flirting with girls. Leaving aside the three children who swarm around for good reason, everyone is dedicated to carrying the heavy burden of being criminals, killing people, and why not, supporting illegal organ trafficking if the situation requires it.
Enlisting in Gekkostate is not turkey snot, but at the very least an accomplice to murder, and that's something Renton didn't seem to understand when he joined the party, which will promptly lead him to change his fighting style after realizing the obviousness that, behind the machines he smashes aboard Nirvash, there are people with family, friends and loved ones.
Renton's development is therefore a long one; the passage from a child who knows nothing to an adult capable of turning his promises into deeds. A step that, as far as destiny or Eureka is concerned, takes some pauses. Behind the girl there is a past, a reason for being, and an identity that has nothing to do with her morphology.
Eureka's unique look at her clothes (or more precisely, the necklace she wears on her neck) showed that she was not an ordinary girl, but rather something extremely artificial that she did not understand much about others. Her existence was summed up as that of a puppet who did not understand the scope of her actions and killed as ordered. To feel alive, to miss or to love someone are things that caught him far away, even if in the eyes of the children he orphaned she is a kind of adoptive mother.
But meeting Renton was a start for her in appreciating life and the value implicit in it. On the other side of the spectrum, this led her to also understand the atrocities behind the hundreds of deaths she has caused, and that is that understanding the meaning of life is intimately linked to assimilating the evil of murder.
This will lead some members of Gekkostate to consider whether they have the slightest right to live and be happy in the new world for which they are fighting and risking their lives. Not in vain is the Gekko-Go a bloodstained ship, both inside and out.
In any case, Eureka Seven doesn't go around fighting from here to there in what people reflect on morality and ethics. There is no doubt that together with comedy, very well measured and implanted, it is an incentive that gives a certain diversity and substance to the work. The battles are of such magnitude that it would not be much less rare to see Eureka Seven because of the morbidity of seeing gigantic machines give each other hosts in what they surf through the skies. But they are components that, like the socio-political conflict, are in the background and lead the characters to what will be their next difficulty.
The fact that Nirvash requires two pilots to extract its full potential is by no means the surplus of time. And the shots are not going to make the cockpit of the wick a motel where people get on all fours and exchange morreos to tutiplén, the purest style of Darling in the FranXX.
On the contrary, the need for the Nirvash to be piloted by two people (and therefore present two holes since it was conceived as an archetype) is the need for the Coral Scub to understand and communicate with humanity through Eureka. It is forcing crosses of gaze, sometimes uncomfortable but necessary talks, and a teamwork for which the relationship between the two must be in good condition.
Thus, what prevails above all else are the ties between characters, especially when there is romantic interest involved. Not in vain is love the main axis of the work. That which leaves the world in the background to focus almost exclusively on the feelings of its characters and give them an excuse with which, leaving the universe itself to the garete, jump into the void in search of their better half. That which makes the End of Anemone the Beginning of many things, to highlight its torrid romance.