Review: Clannad: After Story

An emotional masterpiece, years later.

Review: Clannad: After Story
Studio: Kyoto Animation
Years aired: 2008-09

FULL SPOILERS AHEAD. Go watch Clannad if you haven’t already. The grading section though will be spoiler-free.

AniB’s take: It’s been a long time coming to finally work my way through one of Kyoto Animation’s finest works. An adaptation of a VN, this review focuses specifically on the second season of Clannad. Originally conceived and adapted as a high school romance with comedic elements, After Story continues the focus on the relationship between Tomoya Okazaki and Nagisa Furukawa from the first season. The first 9 episodes flesh out a few more of the supporting cast with their own focus arcs, familiar to the format as well established in Clannad before hitting the “meat” of the story between Nagisa and Tomoya.

Without a shadow of a doubt, this relationship as depicted on screen is a real contender for the best romance in any and all anime. Challengers can apply, but like Akio’s pitches, good luck getting a home run over this couple. After Story intensifies and deepens the reality of the romance beyond the scope of the high school days and the show actually morphs into a drama about life- not that it ever wasn’t, but rather befitting the club that Nagisa worked hard to establish in her high school days. And that journey is full of both triumph and sorrow: from confronting the past to Tomoya’s constant struggle against adversity.

Speaking of him, Tomoya is an outstanding protagonist. Deeply flawed but also deeply capable of love, he’s an everyman who beneath his often skeptical, gruff exterior lies a gentle heart and one that bleeds for the people he loves the most- in this case Nagisa, and later Ushio. His past, present and future always seem to have him find adversity in the midst of happiness, but it is love that pulls him through the worst moments of his life. Now, did he get a mulligan of all mulligans in the final episode with the wish granting thing? Sure, but let’s talk about that next.

The other world was a strange constant through the series. The floating lights said to be the desires and wishes of the people in this world…the surreal landscape with the nameless robot and the girl. It was a slow burn and these sequences worked for the longest payout imaginable, with scenes back even in Clannad that made it seem like a strangely incidental but improbable story. As it turns out, the foreshadowing is there in bits and pieces: Ryou’s fortune telling, Kotomi’s explanation and research about parallel worlds, and even Tomoya’s seemingly inexplicable play idea that he gave to Nagisa in the first season. The final revelation that the girl was in fact Ushio with the robot being Tomoya is quite the twist nonetheless, even for a seasoned anime viewer like myself. I don’t think this ending is a cop-out by the way: if anyone had learned, grown and truly deserved it by the end of the series it was Tomoya. Nothing was more heartwarming than seeing the family united just as they had always dreamed…their own big dango family.

There is probably a whole other long-form essay one could write about the brilliant little details of this show: Nagisa’s graduation speech, the transition panel in episode 18(?) where it’s fully revealed the skipping girl in the ED isn’t Nagisa but Ushio; the long-burning resolution about Tomoya’s father and the closure everyone so desperately needed there, the unexpected return of the real Fuko Ibuki from a coma to play a role towards the end, or even something like Yoshino’s backstory that he told Tomoya. There’s a laundry list that I will spare in a review format, but the show’s attention to detail and the development of its cast in not only a thorough but realistic manner is downright impressive.

There are few criticisms to levy at what is a gem of a show, although the most minor of these would be that outside of Kyou, we don’t see much from Tomoya’s old friends in the Ushio arc of the show, although they do get their ultimate fates revealed in a musical “where are they now?” sort of presentation in the last episode. There’s also the reality that episodes 10-23 alone would have been a 10/10 season without the preceding arcs, but even those had some substance to them worth watching. Quite a bit of these criticisms could be explained by the nature of a show adaptation from a VN taking a specific route, but they are ultimately small nitpicks against something that is fairly special in all manner of being.


END SPOILERS.

Animation: Kyoto Ani’s always had excellent work and this is no different from its era, although this show definitely feels a bit older style wise than some of their other works from a similar era (like K-On! a year later). That said, there’s still some incredible attention to detail conveyed in the animation: One thing I enjoyed was how the seasons were well utilized in the art to represent both the mental state of Tomoya and the reality of his situation at any given time…and for those of you who love the cherry blossom symbolism, this show loves it too. 4/5 points.

Characters:

At the center of this show is the romantic relationship between Tomoya Okazaki and Nagisa Furukawa which was first established in the first season of Clannad.

I went into some of the specifics already in my thoughts section on these two, but the very short version is that they are an incredibly complimentary duo. Nagisa has a positive, never-say-never attitude even in the face of her frail constitution and is willing to try things even when they seem scary. She is the embodiment of the great love her parents put into raising her and her warmth has both a familiar and cute feel to it. These aspects play off Tomoya’s often jaded and cynical outlook on things in life, which in turn was colored by his experiences with his dad, who had become a severe alcoholic. Tomoya though still is a kind individual at heart and would do anything for the people he really cares about- and that is coupled with a stubborn, prideful streak that really comes out when he’s determined to make a point or truly motivated to chase something in his mind and heart.

Outside of the main duo, the famous OP of this show also introduces a number of other female characters who would be main heroine options in the VN: Tomoyo Sakagami, Kotomi Ichinose, and Kyou Fujibyashi. This is a continuation from the style of Clannad’s first season OP, which also included Fuko Ibuki. The original season also featured more of these girls as it completely focused on the high school portions of the cast’s lives; but when the main arc of After Story begins they fade to supporting characters at best.

In addition to the girls, Akio and Sanae Furukawa (Nagisa’s parents) have a major supporting role, continuing from the first season. Kohei Sunohara, Tomoya’s closest friend in high school, continues as comic relief for the first part of the season as well and even receives his own small arc.

In general: incredible main characters, the supporting cast in each arc and for the show overall tends to be robust and fleshed out (not to mention often capable of both great humor and very emotional moments themselves) and the character development is wonderfully organic and beautifully paced. This section deserves all the plaudits it gets. 5/5 points.

Story: 5/5 points.  I could write yet another essay on how amazing After Story’s narrative is, but let’s spare the obvious monologue incoming and cut to the chase. The shortest version of saying this is possible: It’s a hell of a story. Wonderfully paced, poignant and with characters whose lives you can invest in with said tale, the viewer is able to connect on both a personal level to individual lives as well as the overarching narrative flawlessly.  A lot of mini stories over time continuously overall in Clannad and After Story but they make one big story…which is true to life in a nutshell. All of our lives are individual tales but they weave a robust tapestry together when collected. So too it can be said for our wishes and desires, a major thematic thought in this show. And speaking of which…

Themes: An incredibly rich show thematically that deals with issues you rarely see tackled so poignantly or at all in the first place. High school romance turned to marriage, an alcoholic father whose backstory was even more bittersweet than realized, death of a mother in childbirth, the importance of hope in life (and a very Christian value at that!), the love of family that is even reflected in the show’s title (thanks for that tidbit, reader) and even something as simple as “things change and we continue to grow up. Accepting change happens is inevitable; it’s what we do with it that matters.” 5/5 points.

Intangibles: It’s always the little things. The show uses recognizable motifs that it sets up in key moments, patiently brings key details along with moments at times that don’t seem to make sense until they do, but the show also isn’t some puzzle box of vapid stupidity. It’s coherent with more than enough turns to keep the viewer highly engaged. Add in an incredible memorable OP and ED as the cherry on top. 5/5 points

Total: 24/25 (96%): Clannad: After Story still lives up to a lofty reputation years after its release. A great show truly shows its stuff with the test of time and like the vow Tomoya and Nagisa made to each other, it was meant to endure. Still a standout among standouts in Kyoto Animation’s library, this series is a hearty recommendation, although one definitely should still watch Clannad season 1 for the fullest context here.


Like what you see? Big fan of Clannad or Kyoto Animation’s works? Leave a comment!

Review: Girls’ Last Tour

Ruins of a future world meet cute military girls.

Review: Girls’ Last Tour
Studio: White Fox
Years aired: October-December 2017

AniB’s thoughts:

Imagine the countless apocalyptic thrillers that have been written, in both print and on screen. Mankind has always maintained a morbid fascination, even a curiosity towards death and certainly towards the idea of doomsday, a concept that has ended humanity fictionally countless times over depending at what narrative you’re looking at. However, at least in anime form, there is precisely one of those stories that actually not only decided to deal with the long-after, but more specifically- made it into a slice of life anime. Welcome to Girls’ Last Tour, an adaptation from the manga of the same name.

The series follows the seemingly endless journey of two girls- Chito and Yuuri- as they ascend slowly up the ruins of a long-dead city. And long-dead it is- think futuristic Japan but then if the future too had come to its conclusion. One might think this description immediately lends itself to this series being a somber show, but contrary to that, the interaction of our protagonists with each other, their constantly changing environments and the fact that they do in fact remind the viewer at every turn that humanity can still exist with a smile even in the ruins of history, proves rather uplifting.

Along the way, the journey itself turns out to be the point of the show. In that sense, whether it’s a ruined cityscape or just the everyday moments of one’s life, there is something very human about just moving forward one step at a time, and all the little moments and experiences we have, even if they seem pointless in the greater scheme of things. Girls’ Last Tour is full of these kinds of moments: some turn out to be unexpectedly relevant as the story progresses but others are just languid, casual moments that can be funny, humanizing and perhaps more importantly: somewhat pointless. Yet that itself serves a point about the journey itself being hardly linear or perfect, and in turn helps build up the viewer’s ability to connect with Chito and Yuuri in their travels.

This series was a very thoughtful kind of watch. Technically it is a iyashikei, a subgenre within the slice of life realm that features characters living peaceful lives in calming environments, usually with uplifting effects. SoL fans may enjoy how unique it is from other offerings in the genre and those who enjoy sci-fi and futuristic settings may also find this series something different from the usual fare. I don’t think it will have the greatest appeal to people just looking for a show that’s all flash and no substance, but there are plenty of popular series to scratch that itch.

The one major criticism I would levy at this show is that it was left a bit-open ended. I understand the anime did not adapt everything from the manga at the time, but it would have been nice to see the girls reach their overarching goal through the series, which was to reach the highest level of the city they travel up and in the whole show. However, this does not detract from the rich relationship between Chito and Yuuri that is the backbone of the show and the ending we did in fact receive is still satisfying in its own way, just not maybe as resolutely complete as one would hope. Still, the overall presentation is well above average bordering on greatness.


Animation: This show looks pleasing, as you’d expect of something from 2017. The backgrounds and settings are the main highlights of the show, often conveying the depth and scope of the setting while playing into the imagination of the viewer. There’s a sense of mystery and wonder conveyed with curiosity which is then matched by the characters on the screen as they encounter each setting for the first time along with the viewer. One particularly standout thing in this production was the integration of the 3-D elements. Often it will be jarring in mainly 2-D anime, lacking depth and texture, but it actually really brought the vehicle the girls used to life in particular. 4/5 points.

 

Characters: This series is very minimalist, as Chito and Yuuri are largely the only two characters for most of the show with the occasional supporting character appearing in their journey.

Chito is the more cautious, rational and level-headed of the duo. A short girl with bangs and twintails, she’s the main driver of the vehicle the duo travels in. She’s literate, able to read and write and thus values books and knowledge of the past. Often wary of the constant unknowns in their perilous journey upwards, recklessly charging head-first into things is usually not her style.

Yuuri on the other hand is carefree, spontaneous and likes to dive feet-first into situations without thinking too hard about them. As a result she’s often skirting the line of very dangerous situations but also tends to be the push Chito needs to confront her fears and risk-adverse nature. Adventurous to a fault she lives every moment without regret in her own unique way.

Since the two are a complimentary duo, there are a lot of symbolic things that show the contrast: Yuuri has long blonde hair and blue eyes that look European or Scandinavian in descent while Chito has raven black hair, and the typical features of Japanese ancestry. Yuuri knows how to wield and use a rifle while retaining information specifically on food and only food- one of her true passions. Chito on the other hand tends to retain information on everything else, including many things Yuuri often dismisses as useless and generally refuses to bear a weapon at all.

While there are other characters who appear at certain points in the narrative, this show is carried largely by the interactions of these two, both with each other and the world around them. It’s a great thing that it’s a fantastic relationship to watch on screen and certainly a prime example of a very well done friendship. 4.75/5 points

 

Story: Fundamentally as discussed in the thoughts section, this is a journey story, but not in the classic mold of a shonen or a hero’s epic. It’s a journey of two lives in a very different time and place, and everything entailed in that unique time and place, one that still didn’t have a definite ending but a steady sense of purpose in living. The themes and the relationship between the leads are what drive the mystery and intrigue behind the past story of this world, the speculation on what was and the current state it exists in now: it’s a story that can’t be told without those vital components helping to drive it and therefore it becomes more than what it would have been. 3.75/5 points

 

Themes: This show’s other innate strength aside from the core relationship between the leads no doubt is the scope and thoughtfulness of the themes it presents with a sort of curious maturity. Through the eyes of Chito and Yuuri we experience the world as they only know it: a broken empty husk of the past with things we take for granted as lost, ancient knowledge and technology. Questions about the order of things, about life and mortality, about the knowledge of the past and perhaps the loneliness of being some of the only humans left traveling once densely populated cities. It’s both a journey filled with re-discovery of lost things and reflections on that which never could be brought back. 4.5/5 points

 

Intangibles: This show has a very good understanding of atmosphere. Music is used selectively, often opting for ambient sounds based on setting and scenario, and the sounds of conversation between our leads. When music is used it’s often with great consideration to impact within the scene. The show manages to pace itself well enough from segment to segment to not feel too same-y at any given juncture, although the setting just by its nature at times does feel never-ending. Overall it’s a good show around the edges, and the attention to small details and callbacks also serve as a good point in its favor. 4/5 points


Total: 21/25 (84%):
A unique viewing experience, Girls’ Last Tour is often thought provoking, funny and slightly melancholic at the same time. For those who enjoy standout character interactions, Chito and Yuuri are fantastic. Overall a very good show, particularly as a genre pick.


Like what you see? Watched Girls’ Last Tour? Leave a comment!

Review: Keep Your Hands off Eizouken!

An anime about making anime in a delightful fashion.

 

Review: Keep Your Hands off Eizouken!
Studio: Science Saru
Years aired: January-March 2020

AniB’s thoughts:

A well-received show back in the winter season of 2020, Keep Your Hands off Eizouken! was one series I never had a chance to really cover until now at the renewed urging of a great friend who’s got a lot of anime expertise. I had been aware of the rather popular meme shot of the main cast from the show’s opening, Easy Breezy but didn’t really know what to think of it. Furthermore, the previous offering I’d watched from director Maasaki Yuasa was 2018’s Devilman Crybaby, a show I’d reviewed with some scathing criticism that definitely in part stemmed from a personal distaste on the source material. But this piece is not about that show but rather, Eizouken.

If you were looking for a master class on how to maximize one’s efficiency in the standard 12-13 episode cour of anime, this might be the poster child for it. Not a single frame of animation is wasted, the storytelling is crisp and snappy with a lively pacing, and the plot feels engaging and fun with enough stakes to make every interaction feel like it matters. But more importantly: it’s a love letter to the medium of animation itself while also being completely meta about it. Fundamentally Eizouken is a show about 3 high school girls from decidedly different backgrounds with very different personalities meshing together to begin their own anime production club (the titular Eizouken) and subsequently, the projects that they produce are at the forefront of the show’s 3 tightly packed arcs.

The show also avoids the eminently common trap of not overextending itself with its cast in such a tight number of episodes. While longer-running shows have the luxury of not having to be so reductive in their approach to character development, many a one-season show runs afoul of the trap of “main character has a quest, supporting characters get a focus episode and then fade to the background” and at the end what’s left is pretty generic slop in terms of characterization. Eizouken on the other hand keeps focus tightly on the main trio of characters (Midori Asakusa, Sayaka Kanamori, and Tsubame Mizusaki) allowing their interactions with each other and the world around them (and with animation) take center stage. Subsequently the show’s other supporting characters work when needed without mistaking their role: support. This goes from Parker Domeki, the lone Audio Club member who becomes the Eizouken’s pseudo-4th member as a sound engineer; Sowande Sawaki, the sharp and watchful secretary on the school’s student council, and the occasional appearance of Mr. Fujimoto as club advisor, whose incredibly laid-back disposition makes him good comedic balance with timing.

If the commendation about the pacing and characters weren’t enough, the animation itself is just wonderful in Eizouken. A show about animators making animation does a lot of showing, not telling- and they actually have distinct styles for each “phase” if you will within the series’ episodes: from the regular style used for the real world characters and people, to the sketchbook style that reflects Asakusa’s inner mind as well as the smooth line and movements conveyed from Mizusaki; and then the distinctly soft edges of the actual productions the group produces in each arc which are indeed works of art in themselves. And behind the stellar animation the very plot takes care to actually touch on all the major aspects of animation production within this show: from backgrounds to movement details, to the hard financial realities of actually making anything while having someone to keep the creative minds on track, a role Kanamori plays to perfection.

It’s hard to believe how one year’s shows start to become older quickly but Eizouken is one that should continue to hold up well into the future, with a certain timeless charm to its story and characters. Hopefully it does not get lost for viewers further in the future in the constant churn of seasonal shuffle, but at least to this reviewer: it did not. A hearty recommendation indeed.


Animation: Already discussed in my thoughts, the animation of this show both shows a great attention to detail and is actively contributing to the storytelling on the screen. Eizouken understands the medium it’s working in and it’s not just about looking nice: it’s about doing things only animation can do- like taking you to a world beyond your reach. In turn, that plays perfectly into the very plot of the show. 5/5 points.


Characters:
A small cast that maximizes the development of its main three members in the time it has, with all of them feeling equally important in the plot and even in any given episode.

Asakusa is the first character we’re introduced to in the series: a short girl with a massive imagination, she’s both the director and storyboarding artist for the Eizouken club. Sporting a distinct camo fishing hat and matching backpack through the series, her bursts of imaginative thinking on the worlds and plots of the anime the group works on are iconic. Coupled with her boundless enthusiasm and upbeat personality, she’s always fun to watch on screen, but she needs a balance. And that balance is…

The glue of the trio, Kanamori is a natural businesswoman with an eye for the pragmatic and the opportunistic. She’s also the most grounded of the group, and is singlehandedly responsible for driving the economic and social media success of the club through her natural savvy. Always speaking with unabashed realism, there are few more intimidating things then when she flashes a smile- because it means she’s cooking on a plan. But in turn, she proves to be a most reliable, loyal comrade, as Asakusa would put it.

Finally there’s Mizasaki. A teenage model who came from wealth (her parents are both renowned actors) she is somewhat naive to the ways of the working class world, but not stuck up or pretentious in the slightest. Her passion burns brightly for movement and detail in animation work, which also tied in with the modeling background she had- and so she’s in charge of the character work for the Eizouken. Mizasuki feels a strong need to prove her passion in making anime to her parents (a plotline that sees some resolution in the show) and often gets caught up in Asakusa’s day-dreaming antics as well, leading to Kanamori often needing to keep the two of them on track to complete projects.

If it wasn’t evident, it’s an excellent little cast. They were able to fully flesh out these characters in 12 episodes and without any of them being relegated or feeling underdeveloped. I imagine with more time some of the supporting cast mentioned in the thoughts section would receive further development, but there was absolutely nothing to complain about here. 5/5 points.

Story: Split into three tightly paced arcs, the show’s overarching plot concerns the formation of the Eizouken and the subsequent execution of the club’s activities (which also feed into each girl’s own desires and ambitions.) Within the arcs themselves though there are fun subplots, different little unique bits of characterization and problems to maneuver through, and typically the solutions feel collaborative- as in one person alone can’t solve the arc’s issues, which is pretty realistic to teamwork in real life careers. There’s something clean and straightforward about the show’s progression as well- this isn’t a tearjerker or a suspense thriller, but what it is it executes to near perfection. That context is important.  5/5 points.


Themes:
Fundamentally Eizouken is about the joy of animation and the work one has to put in to realize their dreams and ambitions. It’s a story that can resonate with mostly anyone, especially so to long-time animation fans, and I would not be surprised if this show also was a favorite of people in the industry either. I’m not sure the depth of the themes reaches the highest stratosphere of what a show can do, but this is hardly an indictment on what otherwise proves to be a clean, smooth work in almost every meaningful regard.  4/5 points.


Intangibles:
In the entirety of this review from start to finish, the note about “attention to details” is an ever-present identity that cannot be parsed from the success of the overall story and production that was conveyed. This extraordinary detail extends as well to the music and sounds: the audio is also used smartly to advance the storytelling, but it’s like a great chef preparing a virtuoso meal: Much went in but nothing was wasted.  5/5 points.


Total: 24/25 (96%):
A rare show deserving all the praise headed its way, it is a technical masterpiece that can be best summed up as “it’s an outstanding show about people making a medium you’re already watching.” Maybe that’s a bit reductive, but there are few things more beautiful than something simple that is elevated in every way by how it was made. Keep Your Hands off Eizouken! qualifies.


Like what you see? It’s been a long time. Feel free to leave a comment!