What’s In a Character: Spike Speigel

Once again, another unique character comes to the fore of analysis today: Spike Speigel! After trips to the Fire Nation (Zuko) and the Mystery Shack (Stan Pines), it’s time to venture into our solar system, Cowboy Bebop-style, to meet (or re-acquaint with) one of the galaxy’s most feared bounty hunters (sorry Boba Fett) and an all-around terrific character. Spike curiously enough is the first main protagonist to be written about in the “What’s in a Character” series, and he’s worthy of the title indeed; he’s a far more interesting lead than most leading men in anime between his backstory, dynamism as a character, and general coolness; he’s the type of guy who would know that, but if you asked him, he might look indifferent. So here’s yours truly, ready to explore the man that is Spike!

Just who is Spike Spiegel? There’s a straightforward answer that he’s a runaway member of a powerful crime syndicate; a feared bounty hunter and ace pilot; a lost lover floating aimlessly among the stars, a lazy bum who only does things when they benefit him, and for a select few, he’s a friend. Whatever the descriptor, Spike is his own man, and he’s worth looking into. Of course, any discussion of Cowboy Bebop and its characters starts with the idea that our main crew is searching for meaning in their own individual lives and ways. Through the show, those aims are made clearer by way of clean plot progression, development of character arcs, and the sequence of events that happens. In Spike’s case, his character is driven by three groups, or rather, phases of time in particular- his past, represented by the Red Dragon Syndicate and archrival Vicious; his present- which starts off as simply Jet Black but grows to include the newest members of the Bebop (namely Faye and Ed, and to a lesser extent, Ein), and his future, where Spike’s hope is held in the dream that one day he might see Julia, his love, again. (Side note- does it seem like a lot of tragic lovers are named “Julia” or “Juliet”? I blame Shakespeare.) In the backdrop of these three groupings, death sits in the foreground like the Grim Reaper it is so often characterized as, not just because of the constant and steady danger Spike and the rest of the crew find themselves in (thanks largely to their profession of choice), but also as this sort of haunting inevitability that hovers through the show- and specifically in Spike-centric bits. In the very first episode, or session, Asteroid Blues, he chases down the red- eye dealer, Ansimov, only to watch his associate, Katerina shoot him dead- and be brutally killed in turn by ISSP forces. She simply wanted a better life, despite the illicit means she attempted to do so- the first of many also searching for meaning in said lives not unlike Spike, and so death is present from the start. We see the “boy with the harmonica”in the 6th episode (Sympathy for The Devil)– Wen, who because of a freak turn of events involving the Astral Gate incident did not age, but instead turned to a life fraught with violence and loneliness. This time, it is Spike who delivers the finishing blow with a special bullet- hence “sympathy for the devil.” And what of Mad Pierrot, the fearsome assassin who underwent horrific experimentation in exchange for his formidable powers? With a warped mind, and no particular skills outside of killing, it is terrifying agony watching a man whose life was stolen from him attempt to kill Spike in episode 20 (Pierrot Le Fou) only to be driven truly insane by the meowing of a cat, and in a further cruel twist of irony, crushed by the giant paw of a mechanical dog. All of these encounters represented people Spike specifically watched or took part in their demise; all had their lives stripped away to some form of hopelessness, as perhaps a precursor to his fated final showdown. These were also part of his present, as was mentioned above. But what then of Vicious?

 

While I grouped Vicious as a part of Spike’s past (which he is), he is uniquely part of his present and future at the same time; a liminal (or timeless) figure who would exist until Spike found resolution to the question of his life’s meaning one way or another. The other individuals I mentioned died doing whatever they found some sort of meaning in, or what they believed was the best path forward in that situation, and while one-off characters, they were necessary to understand Spike and his relationship regards to Vicious. Vicious knew what Spike wanted. He continued to rise in the syndicate, obtaining high-ranking status and then personally initiating a bloody, silent coup that saw him take control. He’s not a dynamic character, but rather, serves as a character foil to Spike; a sort of dark side to him that is more ruthless, lacks a moral code, and would do anything in order to reach the peak of power. He was the one who tricked Spike into thinking Julia had betrayed him; and to that end, enabled the cynical worldview of the former, aided by nearly killing him in their first early encounter (Ballad of Fallen Angels). It is made clear that in order to truly move forward, Spike must encounter and defeat Vicious, which he does…and brilliantly, his future is no longer clouded, but left to the viewers to decide what happens next. (I actually detail my interpretation and thoughts of the final battle in the Cowboy Bebop review I posted; check it out if you wish to read about it.)

What then of Julia- and why does she represent the future for Spike? She is the only person who could ever give meaning back to his life supposedly– but the show hints at us that it’s not entirely true, as Spike does in fact find some meaning in the Bebop crew themselves, from Jet, his best friend, to Faye Valentine who he often bickers with (and arguably cares deeply about in return), and even to Ed, who is a bit of an enigma to everyone. Regardless, when the truth becomes clear and Julia’s brief reunion with Spike is shattered by a bullet, his only course of action is to fight and settle the score with Vicious- again, because the man in fact is the cause of all the events in Spike’s path- but not the entire explanation for his mental state, which while partially and strongly influenced by the past, also was shaped by his present aboard the Bebop and created a potential way forward with his ultimate showdown against said antagonist.

 

Spike is interesting because of of how his path unfolds and his unique way of dealing with the problems in his way; and he’s a man of experiences whose melancholy comes from a live lived with danger and deceit around every corner, but also some strong relationships to temper that. I’m sure there’s even more to be said about this character (such as how Steve Blum’s VA career took off after his brilliant work in the English dub, or that Spike is handy with a pistol), but it took a bit of introspection to look at his entire journey and draw some conclusions from it: He’s a man who doesn’t mind danger but fears dying without fullfillment of what life means to him; being a “bounty hunter” in a sense describes that Spike is in fact “hunting” for answers, and he’s got more support than he realizes from people. And well…he’s plain cool. Anyone who rocks a suit, a smoke and a pistol like he does along with amazing piloting skills can’t be too bad a guy. Space cowboy really sums it up.

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Like what you see? Is Spike your favorite character?  Anybody you’d love to see me talk about? Chime in!

Also, would you call it bell peppers and “beef?”

I guess it depends on who you ask.

Review: Codename: Kids Next Door

The Lowdown:

Show: Codename: Kids Next Door

Network/Years aired: Cartoon Network, 2002-2008

AniB’s thoughts: You might have seen this review coming from a mile away if you read the Valentine’s Day special, but it’s exciting nonetheless to formally discuss a show that was certainly a great favorite of mine growing up. The 3rd last Cartoon Cartoon to be green-lit from a pilot- and also end its run on Cartoon Network, KND enjoyed a successful era on the network, exiting at a time (January 2008) where a great transition period was about to occur (not that anybody knew that yet.) The show, in two words to anyone unfamiliar, is creatively fun. At its most basic level, Codename: Kids Next Door sounds like what you’d expect: A spy organization featuring kid agents- and it is, but that’s just the beginning. There are giant tree houses, custom weaponry made from common household items and duct tape (which is referred to as 2×4 technology), which in turn, also have creative acronyms for code names (i.e. S.P.L.A.N.K.E.R.= Solid Pine Loaded Artillery Nicely Kicks Enemy Rear), and retrofitted vehicles that are engineered to fly. In most universes these kids would be credited as sheer geniuses, but the KND-verse is honestly a surreal version of our own- and so everything, from parody and references, to childhood fears embodied by the rogues’ gallery of wacky villains, is cranked up to 10- and by and large, it works! The sheer inventiveness and creativity was not only a credit to Tom Warburton, who headed up the show, but also necessary to really bring alive the very titular organization- the Kids Next Door- in all its zany, out of this world absurdness and the hilariously unorthodox problems and enemies facing them.

 

KND, in simplest terms, is a meta-commentary on childhood done right. It starts with a core 5- Sector V- that all embody different personalities, insecurities and aspects of growing up. From the work-obsessed, sharply focused Numbuh 1 (aka Nigel Uno) to his second in command, the cool, collected Numbuh 5 (Abby Lincoln) and right down the line, they are a varied group with unique quirks- but unequivocally embrace their childhoods in a way most adults might wish they had cherished theirs. For all the outrageous missions and crazy weaponry, the greatest enemy in KND is time itself- which has an undefeated record against an agency that normally decommissions its operatives at the tender age of 13- the gateway to adolescence. While the show is a highly episodic endeavor, there is a very loosely overarching narrative that binds this key element to the story, and it gives us in the end one of the more underrated poignant moments in animated history when (spoilers!) the team has their final goodbyes in the finale, Operation I.N.T.E.R.V.I.E.W.S. As a result, the show actually sends an interesting message about the fact that while childhood ends, nobody actually has to let go of being a child entirely. (Think about this idea for a second- all cartoons are made by adults, regardless of target audience, right?) Regardless, the entire notion plays at the imagination, supplemented by a group of characters that’s very likable.

There’s another key point that really stands out in Codename: Kids Next Door: it is one of the finest examples of diversity in a show. For a topic many liberal-leaning critics harp constantly about, it succeeds in KND for a few reasons; chief among these being that it was not a major goal or overtly intended theme of the show. It happened naturally. The Kids Next Door organization proper is a multi-ethnic, globe straddling enterprise that incorporates children from around the world; Sector V themselves are different in terms of ethnicity, and the best part about it is that none of them once seem to care about  their origins; they are simply friends and that is the end of it. But beyond that kind of diversity also lies an intellectual diversity that’s even more important- going back to different character types, goals, and ideas, the kids constantly show individual ways of thinking and solving problems, but an equal willingness to pull together and execute a plan if a goal required it. On screen, this is all accomplished in variously unusual ways, but if you accept that the show is a little convoluted in order to be fun, you’ll have a great time.

Finally, the villains of this show are all deliciously cheesy and fun. They’re legitimate threats in-universe, but include such cohorts as Gramma Stuffum (an obese old lady who creates sentient food that in turn tastes awful and makes its victims quite fat), Knightbrace (a candy shop owner-turned dental avenger at night, with aggressive teeth cleaning techniques), and Mr. Boss (a big, hunchbacked corporate type man who constantly has a cigar in his mouth and delegates other underlings and villains to do his bidding). However, the big bad of this show- Father- and his Delightful Children are a different story altogether; mostly, they are a contrast in styles to our heroes: anger replacing joy for the latter, and the child-like sense of curiosity and adventure sapped for a sort of obedient sadism in the latter (and they are quite tragic characters.) It’s very interesting what you observe when you pop the lid up on a childhood favorite- because there’s a lot more there than initially meets the eye.

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Animation Quality: Traditional 2-D animation, with a distinct style focus on certain exaggerated features, i.e. large feet. Considering the show started in 2002, the level of detail on different sets is impressive, especially the tree houses and the various homemade inventions. As a result, it’s a show that really emphasizes some imaginative ideas, and executes them fairly well. Character models tend to stay simple, which usually works, but sometimes are a little grotesque in certain situations.  4/5 points.
Characterization: The show mainly has a core 5; that being the so- code numbered operatives Numbahs 1-5. All of them feature distinct personalities, and some surprisingly complex character development. They tend to stray outside their stereotype,to often hilarious results.

Nigel Uno (Numbah 1) is the leader of Sector V; he’s an agent’s agent, working tirelessly on behalf of the KND, a habit that has both seen him grow into one of the organization’s most elite agents, but also much to the annoyance of his squad members, who often wish he’d take a little more downtime. Overall though, he’s both liked and respected by his friends, isn’t immune to having a lot of fun and is noted for his bald head and trademark sunglasses.

Hoagie P. Gilligan, Jr., or “Numbah 2” is the team’s resident mechanic and vehicle specialist. A little on the rounder side, he sports a pair of old-time aviator googles at all times, loves chili dogs, and has an awful sense of humor- a fact that Numbah 5 in particular is not fond of. He also loves to monlogue situations as if he were a private detective, which occasionally is featured in Numbuh 2-centric episodes.

 

Kuki Sanban is “Numbah 3.” Usually sporting a bright smile and an aloof personality that can be only described as “airheaded,” Kuki loves all “girly crud,” as Numbah 4 would put it; in particular she has a massive collection of Rainbow Monkeys, the KND universe’s prized plush toy line. However, she’s much more cognizant than she lets on at times, and when angered, takes on an essentially demonic personality that is a complete 180 from her usual demeanor (and is terrifying!)

 

Wally Beetles, or “Numbah 4” is the resident tough guy. A short kid sporting a bowl cut and a distinctive orange hoodie, he’s sensitive about said height, and often tasked with the most dangerous missions for the team- because he’s also not “school-smart.” However, he does have some high “street smarts” and is the bad boy of the team, but he has a tendency to get himself into hilariously awful situations. (Every once in a while, he triumphs.) He also hates being associated with anything “girly-” especially Rainbow Monkeys and being caught crying.

 

Finally Abby Lincoln (Numbah 5) rounds out the main cast. Cool in both demeanor and style, the second in command of Sector V holds the most common sense on the team as its oldest member, and is arguably its most competent member aside from Numbah 1. She holds a deep loyalty to her friends and family, but her personal hobby is hunting for candy treasure- an endeavor that makes for some unlikely allies and enemies along the way.

 

The show features a large and varied rogues gallery, a good number of which parody well-known entities (i.e. Robin Food) and common childhood myths and fears. Some villains receive backstory, in particular Father, the KND’s archenemy. The Kids Next Door themselves have a memorable array of other agents outside the show’s main characters, all as quirky and colorful as the main cast.  The show’s characters follow a large, overarching canon. 4.5/5 points.
Story quality: The story itself follows a large canon usually rooted back to the mysterious roots of the KND organization at a global and galactic level, and the thematic elements I discussed in my thoughts,  but the majority of episodes are episodic. It is interesting to see how events do tie in, as sometimes seemingly minor events pop back up in later stories. The whole premise is fairly convoluted, but that’s part of the wackiness and fun of the show. 4.25/5 points.
Themes: There’s definitely a clever play on childhood nostalgia and imagination in this show, and it’s evident through everything, from the 2×4 weapons to the unimaginably crazy, massive tree houses. Other than that, standard stuff, friendship, commitment, and a whole lot of secrets exist in the shadows… This show actually has some interesting undertones, especially the inevitability of growing up, which is something anybody can relate to.  4/5 points.
Don’t insult the viewer: KND has its weird moments (and when they happen, you’ll know), but is really a very cool show at heart with good to great humor and a cast that doesn’t take itself too seriously. It also has some very good instrumental tracks that emphasize the action on-screen; and the theme song is clean and embodies the show; it’s a little bit of James Bond in there.  4.25/5 points.

 

 

Total Score: 21/25 (84%). Codename: Kids Next Door was an excellent show with minor flaws; however the sheer inventiveness of the idea and its well done execution led to a highly popular series that ran for 6 seasons and two TV movies. It was consistently one of Cartoon Network’s better shows from its inception to its conclusion. Kids Next Door- battle stations!

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Like this review? Wished you could be a KND agent back in the day? Leave a comment!

A Valentine’s Day Special: The Day the Ships Sank

Happy Valentine’s Day everyone! Regardless of whether or not you have a meaningful stake in this holiday, I thought it only appropriate to release something related both to the occasion and animation at large. (You’ll figure it out very quickly.) Enjoy…

One of the most time-obsessive and overtly meaningless pursuits of animation fandoms is the discussion of potential romantic relationships, which is usually shortened to “shipping” and their fans as “shippers.” (In that case, I’m the party crasher.) While a good number of these discussions are fairly harmless banter, some delve into deeply disturbing territory, and other stretch the realm of incredulity. However, almost all share the common theme of being vastly overblown in relation to the actual characters, story and themes of the show in question, and rarely, if ever, do the shippers’ dreams come true, partially because most creators are wise enough to avoid needless pandering, and partially because more often than not, the ships don’t come close to fitting the story in any way.
I find shipping on its best days to be oddly humorous, and on its worst a foul stench and commentary on the mental state of people watching a given show. However, I’ve never been able to truly understand the gobs of time and creativity that goes into fueling ultimately useless and futile fantasies 98% of the time… Here’s my take. Romance has a place in telling a story and thematically. However, love comes in many different forms aside from romance, and a good number of stories simply don’t have a focus on or really express a need for romantic love as a heavy thematic element. One of my favorite examples is in Gravity Falls. The main protagonist, Dipper Pines, and his twin sister, Mabel, are both 12 through the course of the series. Series creator Alex Hirsch, understanding the trope well, poked fun at the idea of shipping through the show, such as with Mabel’s brief and disastrous friendship with Gideon, or the dangers of being a pickup artist in Roadside Attraction; noted placidly that “12 year olds shouldn’t be in those kinds of conversations anyways,” and that while romantic love did crop up in the show, it was usually for briefly poignant or comedic effect, such as Stan’s brief crush on Lazy Susan. But above all else, the show emphasized other types of love in its storytelling: of friendships, of family, and most notably, one of the greatest sibling bonds in not only animation but TV history. Dipper and Mabel, in short, are awesome in no small part because of their truly loving bond and how real that bond is through the show… which is also why it’s disgusting when shippers fail to appreciate the writing here and suggest incest. Ugh…
While Hirsch understood the fact that shipping exists and refused to pander to its existence, instead satirizing it, there are some shows that do mildly indulge it if the story sets up well, and also for potentially humorous effect. Incidentally these instances also do not bother me as they keep a greater eye on the overarching elements and narratives of a given show without sacrificing anything, and potentially even enhancing a narrative. One of the best uses of addressing a ship in this manner was the humorously lamp-shaded romantic feelings between Numbuhs 3 (Kuki Sanban) and 4 (Wally Beetles) in Codename: Kids Next Door. While Kuki tends to act oblivious in the show, it’s shown subtly from time to time that she’s far less aloof than she normally portrays, and Wally is rather heavy handed in his attempts to tell her his feelings. The near misses finally add up to a darkly humorous “first kiss” in the Operation: Z.E.R.O. movie, and an explicit confirmation of the couple in the series finale, I.N.T.E.R.V.I.E.W.S. Here, the couple works well; from a narrative standpoint it’s set up in a believable and silly fashion; it acknowledges fan expectations that were feasible, and it’s a result that made sense without detracting from the major narrative of KND itself- its story about the team, the organization, and its meta-commentary on childhood, one where puppy love could in fact work.
For as well as the examples noted work however, there are always cases where shipping can be dangerously influential, and not to the benefit of the work at hand. For this, I reference an otherwise solid show, The Legend of Korra. While the show was visually stunning and the story usually compelling, Korra had narrative weaknesses, and chief among these was the stunted growth of a love triangle that originated in Season 1 of the show. Initially Korra was to be a one-off short series, and the triangle would have worked reasonably well in that arrangement- Korra stays with Mako, winning out over Asami Sato in what proved to be a decent B-plot aside from the Equalists, but unsurprisingly, the return to the Avatar world proved widely successfully and three more seasons were green-lit. The unfortunate side effect of this decision, while still the correct choice, was the painfully obvious lack of ideas for Asami’s character beyond her finite role as the chief investor and bank of the new Team Avatar, and that Korra, who had already received a sort of endgame love interest after the first season, would have to now find a way to extend a plot that really was supposed to be finished. By the time of the final season, the writers needed an end to Asami’s story beyond an obvious Hiroshi Sato redemption arc, and at roughly the same time, the ”Korrasami” ship had become rampant within swaths of the Korra fandom. What happened next was a throughly sloppy bit of writing (which I discussed in my review for the show), designed to simultaneously placate loud fans, solve the Asami problem, and was easy to shove under the pretext of being “progressive.” It also left Mako hanging out in the cold in a very unsatisfying end to an interesting character, and in many ways, cheapened what should have otherwise been a very memorable finale for The Legend of Korra.
I’m likely not going to change the minds of many who are already into complex relationship building, but in my brief experience with the world of animation and its many fans, shipping is unavoidable even if one ignores it on the whole. However, the true reason is that not once have I seen a treatise or article addressing the topic outside of petty flame wars on the internet or shippers themselves ogling over a new potential relationship, or conversely, beyond non-shippers shouting “I don’t like it!” and not backing it up. As you can see, I’m not really a fan of the ships, but I can’t stop people either. If anything, I hope it was an interesting look into the thoughts of the various effects of shipping, which has been dealt with in various manners.

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Like what you see? Unaware of the actual history of the Titanic? Have something to say? Leave a comment!

Review: Neon Genesis Evangelion

The Lowdown:

Show: Neon Genesis Evangelion

Studio(Network)/Years aired: Gainax (Cartoon Network-Toonami), 1995-1996

(SOME SPOILERS AHEAD. Skip to the grading section if you wish to avoid.)

AniB’s thoughts: Love it or hate it, Neon Genesis Evangelion (usually just referred to as Evangelion) is a staple of mecha anime; a well known series that served as inspiration for others that came after it, including Gainax’s other mega hit Gurren Lagann. Loaded with Christian symbolism (i.e. The Magi are NERV’s supercomputers, and the attacking group is the Angels), it is a frenetically paced, emotionally heavy show which now has some even stranger connotations (as the year 2016 already passed now), so it’s a sort of alternate reality to our own. There’s definitely some inspiration from Blade Runner here as well- the mysterious origins of Rei Ayanami is almost certaintly inspired by the replicants from that movie, and the whole idea of what does it really mean to be human? floats around not only from Rei, but also Shinji’s variability of moods, Asuka’s eventual breakdown, and the mysterious goals that SEELE, another organization who usually hands orders down to NERV, has with the Eva program itself.

There’s little doubt that for a first time viewer Evangelion can be a very difficult show to watch, simply because it is overwhelming at times…and even for repeat viewers it can be still be quite the challenge. However, “difficult” does not always translate to better. One  of the major sticking points in this show is the protaganist himself- Shinji. A shy boy with little in the way of spine (unless he convinces himself to do something- then he’s alright) and an inferiority complex that makes Eeyore look positively upbeat, Shinji certaintly turns out to be a character with great depth… but I’m not sure his inability to cope with things for roughly half the show goes over well with everyone. I understand it’s part and parcel with his character- and that as the lead character, he contrasts sharply with everyone else on the cast, particularly Asuka, but I do think I was palpably frustrated at times with his unwillingness to snap out of depressive funks. I understand that Shinji’s the Third Child, fighting Angels in a giant mech in a battle to save the world, but he sure takes a lot of convincing to get from Point A to Point B most  of the time…

There’s also the matter of Evangelion’s ending- Episodes 25 and 26- and the two versions that exist: the original ending in the TV series that I’m talking about here, and The End of Evangelion movie that revises that ending with quite a bit more action (but an equally confusing end.)  First off, I’ll discuss End of Evangelion here, but note my grade below is crafted with only the episodes from the anime series’ original run, so I’m using the original 2 episodes in my analysis. There is a similar thread between both endings- that being the intense psychological resolution of Shinji’s mind- which, true to form is agonizingly slow, considering the kid is still traumatized over destroying the 17th Angel, and truly believes that his self-worth is at an all-time low; that nobody cares about him. For the live action bits- which appear in both endings (the show and the movie), it is my belief that it was an attempt to show a certain “reality of perception”; either way, you’ll probably have to watch said endings (both, mind you) a few times to even begin an attempt at grasping the entirety of what the message was. In both cases, Shinji “resolves” his dilemma, though in End of Evangelion it’s much clearer; the actual real-world result is Shinji maintaining his individual body and spirit (along with Asuka, mysteriously enough), surrounded by the surreal post-apocalyptic landscape in the aftermath of the events that took place, and Lillith’s (the giant white being who absorbed Rei) death, perhaps symbolizing hope can always be found- and that perhaps the two children were the new “Adam and Eve.” As for the ending that’s being graded here, it’s been discussed before that they were on a tight budget and schedule to release said episodes; the end result is something that’s very psychological in nature, but not necessarily satisfying.

Do I believe Evangelion’s slightly overrated for what it is? Yes I do. But I also enjoy some of the ideas it explores,  the rich symbolism steeped in Christian ideas, and a cast on the whole whose interactions are rarely wasted, constantly giving us glimpses into the true personalities of each individual. Regardless of what you think of the show, it’s certainly unique. And if you haven’t seen Evangelion over 20 years after its release…well, brace yourself, because it’s very much its own show. (And that theme song (“A Cruel Angel’s Thesis”) is quite famous – I suspect you’ll be listening to it quite a bit…and it’s been memed quite a lot as well.) With that, on to the grading!

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Animation Quality: Traditional 2-D anime. Hand drawn in the classic style, Evangelion’s animation is fluid and detailed; and the battle scenes are impactful. There are some interesting techniques used to convey some more psychologically interesting aspects of the show, and overall, the style has aged decently. The animation also conveys the raw, visceral emotion in the show quite well with the narrative, and it works to great effect. 4.25/5 points.

 

 

Characterization: The show features one of anime’s more well-known protagonists, Shinji Ikari, a young teenager who is the pilot of Evangelion Unit 01, or Eva, for short. Suffering from intense withdrawal and psychological dependence on himself, Shinji’s isolation and exploration of self-worth forms a major part of the show’s emotional core.

Additionally, there are the other pilots of the Evas; Rei Ayanami, a mysterious child whose clouded origins are tied in with her perception of self, and Asuka Langley Soryu, an implusive, loudmouthed prodigy from Germany who in fact, hides her true emotional state tenuously under her public personality. Asuka in particular has strong feelings for Shinji, but with her own inner struggles, these often come out as verbal abuse (and her personality is a complete 180 from the latter.) She also represses painful memories deep within herself- after a particuarly tramautic battle (SPOILERS), she spends the end of the series in a mostly catatonic state.

Misato is the caretaker of Shinji and later Asuka; she balances her true motivation and backstory against her duties as a NERV officer and the carefree person she is outside of her job. Skilled with a gun and with some impressive driving skills, she often is the one who has to get Shinji going when he’s apprehensive or down about something (which is pretty often.)

Gendo Ikari is Shinji’s father; a cold man and the director of NERV, his only goal in life is to achieve the ends of NERV as he sees fit (and he has a very specific goal in mind), and the destruction of the Angels. Gendo will do anything to see his aims through, and as such, his relationship with Shinji is distant and cruel at best.

The rest of the cast is a good supporting role; while the characters of the show have deep emotions and issues, it can become a little overwhelming with the amount of melancholia and hidden insecurities exhibited. The cast is at their best in interactions with each other, as it reveals their core personalities very clearly. 4/5 points.

 

 

Story quality: The story of Evangelion is surprisingly simple: 15 years into a post-apocalyptic world, humanity’s last hope is the organization called NERV and their Evangelion project- a series of fighting robots bio-engineered to work only with child pilots- to prevent doomsday from entities only known as Angels, which have unknown origins and incredible powers. It works well enough, but the show is ultimately more focused on the characters and their struggles, using the story as a framing device (and an excuse for giant robot fights. No complaints there.) 3.25/5 points.

 

 

Themes: Evangelion is a deep journey into the human minds and motivations of its cast, and what the circumstances of their lives actually mean to them. It’s also a standard-bearer of the typical post-apocalyptic trends such as loss, and destruction, and generally weird decision making… At any rate, the character analysis itself can be either the most engaging or daunting aspect for a viewer, but it is Evangelion’s defining trait. 4.25/5 points.

 

 

Don’t insult the viewer: Intensely psychological, Evangelion is not the best for an easy watch. There are also plenty of brief moments of nudity and innuendo, but most of this makes sense or is played for a quick laugh (and the humor is well-appreciated in this style of show.) There’s also plenty of strongly visceral scenes involving “blood” and the Eva units themselves. 4.5/5 points.

 

 

Total Score: 20.25/25 (81%). A staple of the mecha anime genre, Neon Genesis Evangelion is a curious show and an veritable spectacle. Not particularly recommended for people under the age of 15, it’s an intense watch that covers a broad spectrum of emotions and can be a difficult to view show for some of the reasons outlined above.

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Like this review? Want to ask whether Asuka or Rei is best girl (because I don’t care?) Write a comment!

Review/Rant: Fanboy and Chum Chum

The Lowdown:

Show: Fanboy and Chum Chum

Network/Years aired: Nickelodeon, 2009-2014

AniB’s thoughts: Ugh. Ugh. Ugh. Let me preface my thoughts by saying that Fanboy and Chum Chum brings some levity to the reviews here, which have been loaded initially with some of the best shows both East and West have to offer (including fellow Nicktoons Avatar: The Last Airbender and successor piece The Legend of Korra), and it was about time to show off an example of what not to do in a show. Enter the highly forgettable entry that is the subject of this review column, and prepare yourself, because it ain’t pretty.

I really do make an effort to be as unbiased and objective as possible with every show that’s reviewed. Unfortunately, even with that fair ideal in place and a grading system that can also be described as such, Fanboy and Chum Chum is a mess of a show in almost every possible aspect. Where do I even start? Bad CGI, bad script-writing, bad music, and horrible characterization makes for an explosion of awfulness that in some ways, can only be explained as a byproduct of the era in which this show was hatched. 2009 was admittedly smack dab in the middle of the worst mini-era of animation in at least the past 30 years, and while Nickelodeon was struggling as a network like everyone else, it did itself no favors with its pick of shows, and of that inglorious bunch (which included “gems” like The Mighty B! and T.U.F.F. Puppy), Fanboy and Chum Chum might unequivocally be the worst. What makes this assertion even more accurate is that Nick execs had a choice of  shows to greenlight from pilots; they picked this heaping pile of garbage up instead of another little show you might have heard of- Adventure Time– that went on to became a massive success on rival Cartoon Network en route to becoming the very representation of a new wave of Western animation in the 2010’s. But enough about a show I’d rather talk about- we’re here for the choice Nick made instead.

This show really does one thing well: showcasing to aspiring show-runners mistakes they should avoid making, and this unfortunate reality has a two-fold crisis in Fanboy and Chum Chum: The animation style, and the inability to write anything resembling cohesiveness. Shows have distinct animated styles, but different character designs also have natural proclivities to what they’d look best in. Gravity Falls, for instance works perfectly in 2-D; while Star Wars: The Clone Wars was very good in 3-D (and is an example of versatility in styles.) Fanboy and Chum Chum has the unfortunate distinction of having 2-D designs cast in a 3-D world. The end result is incredibly unnatural, jarring character models (which you can see clearly in the picture for this piece) which would have been at home in the 2-D style exaggerated character designs like these have been in forever, but for some reason, from the word go (which included the pilot), the creators decided 3-D was a good idea. (It wasn’t.) Add in janky colors that are almost too bright, and the low-budget CGI production that is also evident, and it’s a disaster of equal proportions. While this aspect alone sapped a great deal of any promise from the show, it still might have had a chance if the writing was there…except it wasn’t.

Character writing 101 was left on the doorstep of Fanboy and Chum Chum. As anyone worth their salt as a critic, an animation fan, or a purveyor of entertainment in general will tell you, characters are the hook into your narrative. They flow with the story you’re trying to tell, and as a baseline, the main cast should have some dynamism and your main protagonists need to be easily likeable.  This show failed miserably at this most basic of tasks- the titular characters are two of the most annoying tone-deaf, brain dead individuals ever conceived in an animated show, regardless of target audience, and it is so bad that anyone who actually continues to wade into the sludge of this show’s depths will only find themselves rooting for Kyle- the middle guy in the article picture- a wizard (don’t ask) who is incessantly pestered by our supposed “heroes” in such a way that I at least found myself rooting for his schemes to destroy the little bastards. The main goal of Fanboy and Chum Chum as individuals is- get this- to get a special kind of Slurpee they particularly love, to goof off and (un?)intentionally annoy people, begging the question what the actual gripping concept of having these two wack jobs dressed up as knock-off superheroes in the first place was, or even more generally, what was goal of the show? To be honest, I’d write a better script for this abomination in two seconds: A Codename: Kids Next Door hybrid meets Teen Titans, cast in tasteful 2-D, give our main men actual brains (which they remove in the show we actually got, to “comedic effect” at times), and overhaul the entire cast, colors, music and everything else- wait, scratch that. I just said to scrap this show essentially- which should have happened in the first place! Anyways, here’s the gory details in all their graded glory:

 

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Animation Quality: 3-D CGI, and not very high budget at that. A quote I read somewhere online a while back summed it up best: “This is what Ren and Stimpy would look like if it was in 3-D.” It’s fairly stark for a show released in 2009 that ran into 2014, and the character designs don’t really do it any favors. On the plus side, the color palette is bright. That’s about it though. 1/5 points.
Characterization: The major problem with this show is its titular characters. For the viewer, they are incredibly annoying “protagonists” and they seem to revel in their awkward stupidity. As I highlighted in my thoughts, when your show has unlikable main characters by any stretch, you’ve got serious problems.

Fanboy and Chum Chum are the two leads. While separate characters, they essentially are two sides of the same coin, meaning “not very bright, impulsive as hell, and likely to get diabetes at some point.” Fanboy’s the skinny one in mostly green, and Chum Chum’s the fat, short guy in orange. (Apparently, wearing underwear on the outside of your clothes emulates heroes’ spandex, but it’s not very becoming here.) They engage in random acts of..randomness (think involving a giant wad of chewed gum FB and CC are hiding in their school desks (which is disgusting, not funny, especially when they talk to it like a young child), which then, upon bringing it back to their hideout/home in the town’s water tower, it turns into a sentient monster who’s equally as thick as his new friends.) What?

 

The supporting cast is very weak and stereotypical; Kyle’s probably the best of the bunch (largely because he’s aware of just how stupid FB and CC are.), but unfortunately, he’s the punching bag- a inferior Squidward clone. As mentioned, the character designs simply look ugly in 3-D. They would have worked much better in 2-D, as most atypical designs do. 0.25/5 points.
Story quality: Episodic. Terribly contrived plots- I don’t think I was very amused at any point watching, and frankly, the show didn’t do anything spectacular to really warrant praise. The lack of character development, the consistently annoying premises, and the unfortunate truth that I wound up rooting for the “antagonist” in just about every episode sums it up. There’s a lot more nasty things that could be said, but simply, the episodes are dull exercises in futility. 0/5 points.
Themes: The power of friendship? Seriously, the show doesn’t even try to wedge something of nutritive value in. Thematically, the show’s a waste of time when your main characters are more interested in obsessions over sentient pieces of gum (for one strange example), a conspicuous lack of attention or basic listening to other people, and the fact that they don’t even try to work the superhero angle in. (They would be the lamest superheroes ever, but it’d be a start…) 0/5 points.
Don’t insult the viewer: This show is catering to kids, and not in a good way. It’s a brain dead show with generally unfunny attempts at humor, an unlikable set of main characters, basic CGI, and a slew of other problems. It also has an awful music track, simply adding to the misery of what was an unpleasant experience. 1/5 points.

 

 

Total Score: 2.25/25 (9%). Fanboy and Chum Chum is a truly awful cartoon with little sense of pacing, character, story, or really anything of worth. Its most significant achievement was somehow surviving for 5 years on Nickelodeon (how it did is still a mystery to yours truly). It’s not vulgar, but it lacks any intelligent writing and nothing particularly stands out. It is, in a word, awful. Avoid this at all costs- there are far better pieces of animation to consume.

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Like this review? Actually enjoy this show? Or here to parrot the same convictions? Leave a comment!

What’s In a Character: Stan Pines

Once again, a character piece appears! This time, we’ll be looking at the summer guardian of Dipper and Mabel Pines, con-man extraordinaire and boss of the Mystery Shack, Stan Pines. When watching Gravity Falls, this character in particular stuck out as unique for a number of reasons: He was an older character in a show marketed to a younger audience that received extraordinary character development; evolved beyond the typical two-bit huckster that most other shows might have kept him as, and he was funny as hell. In a show that is really well crafted in every sense of the word, Stan managed to be a big part of that success- the other main character that kept the show rolling along with the Pines twins themselves- and a perfect balancer that proved to be tremendously important. (Oh, and this piece has massive spoilers. If you haven’t taken a trip into the woods yet, I’d suggest either reading my review, or better yet, watching this show. Like now.)

Tying in with my thoughts from the Gravity Falls review, it is almost impossible to guess how interesting Dipper and Mabel’s “Grunkle” Stan would be from the first episode, or how key he would be in the events that unfolded in the show. Aside from the title cards, which notably names Stan along with the twins as main characters, he is quickly shown off as a greedy proprietor of a tourist trap- the Mystery Shack; irresponsible at best with children (his own niece and nephew are put to work as essentially unpaid employees), and a cheapskate to boot- charging exorbitant fees for homemade works of “mystery” such as the “Jackalope” and “Sascrotch,” a fact that is played up all too often between gullible customers and the fact that the town of Gravity Falls, in fact, has real mysteries and phenomena.  Instead, the show goes for the slow drip of information when it comes to Stan, starting with that same first episode (Tourist Trapped), throwing in the intriguing, but mysteriously out of place moment where he quickly punches a code on a inauspicious vending machine, revealing a secret passage…

The irony of Stan’s stage name, “Mr. Mystery,” is that it doubles as a description for who he actually is. Underneath his smiling visage to tourists lay a man with a weighty past, a present that was actually spent selflessly in pursuit of a very specific goal, and most surprisingly, a family man with a heart of gold…unless you mess with them. (Then you’re getting a brass knuckle to the face.) Without trying to summarize too much, here’s the reasons why Stan Pines deserves a character piece to call his own.

He’s old fashioned

Huh? This is a real reason, AniB? Yes, but it’s probably not in the way you think. Stan is his own man. He wear his underclothes around the house without a care in the world, loves his old TV and comfy armchair, and drives a car straight out of the 1960’s like he’s a racecar driver. He also clearly doesn’t care what other people think of him, as long as he gets some attention (and maybe makes a buck.) But really, this section is just a primer.

The real reason… insane character development

The season 2 episode Not What He Seems is universally acclaimed by fans and even critics as one of the show’s best episodes (in a sea of good ones), not the least of which had to do with Stan’s role. (In fact, it has everything to do with him.) As it turns out, he’d been undertaking a dangerous, risky project in the hopes of bringing his brother- Stanford “Ford” Pines, the author of the journals- back home. The Mystery Shack is revealed to be a front in order for Stan to gather the money and the time he needed for equipment to fix the massive underground inter-dimensional portal in the basement of the building; a secret that is revealed initially in Season 1’s finale (Gideon Rises) but comes to a head in this episode, where in the face of a doomsday scenario (a 30 year old portal rending space and time itself), the Pines twins and trusted handyman Soos Ramirez make the discovery. Prior to the last 5 minutes of the episode, Stan had been slowly bonding with the twins over the summer- a prime example of Gravity Falls’ careful development. Starting with a mostly disasterous fishing trip in episode 2 of the show (Legend of the Gobblewonker), he had among other things, gotten over a fear of heights (and ladders) with Mabel (Fight Fighters), helped Dipper prove to Wendy that her then-boyfriend Robbie used a mind-control CD (Boyz Crazy), did his best to protect and help the twins defeat Gideon and save the Mystery Shack (Gideon Rises), participated in a mini-golf outing-turned war (The Golf War) as the getaway car of sorts, and in the episode at hand, shot fireworks off the roof with his niece and nephew mere minutes before government agents apprehended him. While this compilation is not every example, Stan had indeed gone from the absentminded shyster from when the twins first arrived in Gravity Falls, to a loving uncle who they knew as a person…but not in terms of history.

Mabel, do you really think I’m a bad guy?

If you want to really talk about Stan, two words sum it up: Complicated relationships. His past was tumultuous; growing up in the fictional town of Glass Shard Beach, New Jersey, he had a twin brother in Ford, but little else: He wasn’t a genius like his brother, had a reputation as a slacker, and his only ambition seemed to be to sail the world with said brother. After an incident that cost Ford his dream college, Stan (fairly or unfairly) was blamed for everything and thrown out of his childhood home. (While all this can be seen in A Tale of Two Stans, it’s important for context here.) Suddenly, an element you almost never see in a show on a channel generally reserved for a younger audience came into play: An older character with estrangement issues. A rift had grown between he and his brother, and it was physically symbolized by the eventual, short lived reunion that resulted in Ford’s  disappearance into the portal. In that sense, the journals Stan sought to gather, and the portal itself collectively represented Ford- and the deep, deep gap that had developed between the original Pines twins, literally stretching space and time (30 long years). When Ford came back through the portal and gave Stan a square one on the jaw, it was deserved- they had a lot of issues and it was obvious upon thinking about their relationship for this piece and in general, it was absolutely necessary that something dramatic would be the only way to resolve such a gap. It also was a tension that was not lost on the older viewers of Gravity Falls; and that resolution both for the brothers, and Stan’s way of making up for secrets was in the finale: Weirdmageddon.

You’re a real wiseguy, but you made one fatal mistake- Ya messed with my family!

Weirdmageddon is as it sounds- the mad apocalypse of Bill Cipher, the deviously evil mind demon, and while a great deal of events happen here, it is Stan’s role in the final act of this arc (and the show) that proves to be both satisfying and an answer to all the questions created to this point. Up to the point in which Stan volunteers to have his memories erased in order to facilitate the defeat of Bill, Ford and the twins had been playing hero(or attempting to). Since the figurative rift of his relationship with Ford had widened since A Tale of Two Stans,  it was only fitting when the literal rift of space-time was opened in Dipper and Mabel vs. The Future that Stan’s resolution would come. In this case, selfless sacrifice to defeat an indescribable evil was the choice- and it brought out the best of the character in spite of his flaws- his sense of humor, ability to “punch things,” his love for family, and of course, the fact that all Stan ever wanted to do was redeem himself in the eyes of the world- or at least the people he cared about. Some fans gripe about the idea that Stan regained his memories too quickly (or they didn’t want it to happen at all), but reflecting on it, it would have been a poor levity of the balance that Gravity Falls struck as a show between funny and lighthearted; serious and dark. The choice to do so also allowed a complete arc between Stan and Ford- the latter recognized his hubris to an extent and finally appreciated the things his brother had been trying to do, and the former proved to Dipper and Mabel who he was, definitively once and for all, and connected again with Ford. Ultimately, without memory restoration, Stan’s first goal in life wouldn’t have become a reality- a chance to sail the world with Ford on the Stan O’War II. Whether it was punching zombies, making “Stan-cakes,” or seeing the twins off at the end of the show, “Grunkle” and “brother” are really the best descriptors for Stan- a real man with faults and strengths and a fun character all too often absent for his character type in animation.

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Like what you see? Comment about it! Oh, and one more thing:

Her aim is getting better! (Get it? If you don’t…well, you will…eventually.)

Review: Cowboy Bebop

The Lowdown:

Show: Cowboy Bebop

Studio(Network)/years aired: Sunrise (Cartoon Network), 1998-1999

AniB’s thoughts: When I first started watching anime far more intensely (both for my own enjoyment, and ultimately, to become an expert with it), Cowboy Bebop was high on the list of priorities. As it turns out, it is another one of the shows considered highly influential in growing the medium’s popularity in the West, alongside another familiar show I already reviewed that also features a black, spiky haired protagonist. But I’m guessing plenty of people might have already known that. What’s more interesting is the why of Cowboy Bebop; the fact that it’s a sort of noir space steampunk western with the freewheeling soul of jazz imbued in its very core (the episodes themselves are referred to as sessions); the emptiness that each individual character on the crew of the titular ship seeks to fill; and despite all the seriousness, a playful sense of humor and comedy still emerges from the wild adventures of Spike Spiegel and company. For myself, I reveled in the slice of life moments that really showed off the true depth of Bebop’s crew: the aformentioned Spike’s brushes with disaster and death, with everything from red-eye drug dealers, to Mad Pierrot, a horrifying assassin with terrifying origins; Faye’s stubborn attitude and pension for gambling belying a deep connection to home for her; Ed’s escapades with everything from hijacking the Bebop to playing intergalactic chess with the wizened old creator of the hyperspace gate systems in the show (and who could forget the mushrooms episode?), and Jet’s moonlighting of his days as a cop, reminding us all that he and Spike are truly the unlikeliest of friends, considering their backstories…

Of course, everyone who has watched this show seems to have an opinion on the show’s ending (SPOILERS)- the intentionally ambiguous outcome of Spike and Vicious’ final showdown; an ending that is essentially left to the viewer to decide what happens to the show’s main character after his Pyrrhic victory.  Spike essentially is the final character to have his outcome decided, and the ambiguity really does fit in this scenario. His love interest, Julia, who was his main focus and dream though the entire show, is finally reunited with him, only to be taken away once again in his battle against the Red Dragon Syndicate, and it’s curious, if not natural to wonder if death was indeed a better option for him at this point, as the crew of the Bebop– who essentially had become the galaxy’s oddest family, had split apart over story resolutions and natural endings to character arcs. Personally, I believed Spike died in the aftermath of the battle, but there is room for the other outcome; that given his chance to finally resolve the murkiness of his past, Spike might seize a sort of rebirth. But Cowboy Bebop ended right where it meant to.

Speaking of Spike, the character was the launching pad for Steve Blum’s voice acting career, as Cowboy Bebop’s dub is considered to be excellent to this day, and even preferable for many anime fans who would normally stick to subs. It is an excellent gateway show for those looking to find their way into Eastern animation (in other words, Japanese anime), but even on its own, it’s one of the finest anime out there in terms of the themes it explores, the unique cast and character arcs, and the settings that it takes place in across what is clearly a re-imagining of our solar system. (Oh, and you’ll also wind up listening for hours to Tank!– the catchy theme song that really embodies the show quite well.) As for the more gritty details, I’ll delve into that now.

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Animation Quality: Traditional 2-D anime, hand-drawn towards the end of an era. The scenes are full of detail, the characters pop, the environments are varied, and the action sequences are satisfying. From an anime, you can’t really ask for much more, and the animation serves to enhance the story. 5 points.
Characterization: Cowboy Bebop is absolutely terrific in the development of its characters. Seemingly unrelated at first, the ragtag crew of the Bebop are drawn together by their different pasts and similar goals to find that what they seek. To that end, the majority of the series focuses on the bounties they share, but the final 3 episodes show that the bounty hunting was always a secondary pursuit to the aims the characters really had.

Spike is a terrific protagonist- cool and calm (not to mention, remarkably lazy) demeanor hiding a dark and troubled past with an entity only known as “the Syndicate.” He is a highly skilled martial artist; his preferred weapon is a pistol which he demonstrates remarkably good markmanship with through the series. (If that wasn’t enough, Spike also is a proficient pilot and has his own space fighter.) While often distant in his interactions with the crew, he has a quiet fondness for them, particularly Faye, which is often masked by their constant bickering.

Faye is truly a lost soul in a different time and place from where she originated. She hides her insecurities with a lot of gambling and lip, rarely if every showing her more vulnerable self to Spike and Jet in particular. Faye is a remarkably good space pilot and dogfighter who actually joins the crew officially 4 episodes in, largely because her craft ran out of gas. (She’s also got a good body- but that’s anime 101 with many a female character, isn’t it?)

Jet Black has his past as a cop; he is a man with genuinely strong morals and convictions, and the best friend of Spike. How he came to have a mechanical arm is a major spoiler, but it does involve his past in the ISSP (the police on Ganymede, the moon he came from) and a broken heart… Tough, reliable and respected, Jet is the captain of the Bebop and a tough fighter in his own right as a ex-cop turned bounty hunter.

Ed is an eccentric hacker and genius from Earth who is known as “Radical Edward,” but is actually a young girl who seeks to find her father. With a somewhat strange way of speaking, Ed loves adventure and is naively fearless (not to mention, extremely funny.) She also strikes up a relationship with the Bebop’s dog- Ein, to the point where she’s also the official caretaker of him.

Finally, I will mention Vicious, the archrival and enemy of Spike who plays a key role in the story, specifically in Spike’s character arc. It took a little long for two of the main characters to appear, but it works in terms of story progression quite well. There are also plenty of one off characters with interesting personalities and thought-provoking origins (boy with the harmonica anyone?) 5/5 points.
Story quality: Bebop at first seems to be episodic, and it is on many levels, each session encompassing a different adventure for the crew. But ultimately it is a overarching story with continuity, complete with fantastic character arcs for all the main cast. Mostly serious, with a good sense of humor, it keeps you wanting to know how it will all end. The story pacing is fantastic (26 episodes), especially for an anime. 5/5 points.
Themes:  The major theme of the entire show is finding your place in life; resolving an overwhelming sense of loneliness, and as a result, giving life meaning. Other themes tie in to assist the central tenet of that them,  which included friendship and camaraderie, a sense of family, and a good deal of violence and struggle that fit the show’s motif. The show’s not really for anyone under 15, but that’s not just due to the themes, but also the story (which really requires a very thoughtful watch.) 4.25/5 points.
Don’t insult the viewer: Bebop is a show which set the tone for many animes that came after it and primed Western audiences for the medium; it was intelligent with thoughtful, smart writing, and never made me cringe in any particular way. The show’s jazzy themes and creative tracks were also an absolute joy to listen to; they often see the atmosphere in a convincing way that synergized with the action on the screen.  5/5 points.
Total Score: 24.25/25 (97%). The trendsetter for many animes, Cowboy Bebop is a masterpiece of character development, snappy pacing, tremendous action, and one of the catchiest openings anyone can remember. It is a masterpiece that few shows either in the West or East can hope to touch. See you, space cowboy…

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What’s In a Character: Zuko

Hello dear readers! Today’s piece about Zuko is the first in a series about certain characters I’ve thought were worth writing more at length about. Reviews are a fantastic format to write further at length about shows, but they do not do as much justice to complex, well developed characters; in many cases, shows feature extensive casts and unless you want to read reviews longer than the Great Wall of China, I can only really highlight the major members of a show.

Zuko in many ways is the most interesting character in one of the best Western shows in animated history, and almost certainly a top 5 deutragonist. As I noted in my Avatar: The Last Airbender review (read it if you haven’t!) he serves as a foil to Aang throughout his journey in the show; his path is inextricably intertwined with the Avatar’s, which manifests itself in unpredictable ways. As Zuko travels along his eventual path to becoming one of Aang’s most trusted allies and eventually taking up the mantle of Fire Lord himself, there is some extraordinary character development and intriguing decisions made in a journey that is truly all Zuko’s alone. Voiced by the excellent Dante Basco, the only right thing to do is ‘honor’ the head of the Fire Nation at length! (One final note: This review is about Zuko during Avatar: The Last Airbender. It’s not going to make reference to his much older self in The Legend of Korra, which essentially amounted to a cameo.)

When Avatar: The Last Airbender began its run back in 2005, Zuko’s first appearance suggested he might be the typical villain you’d expect from a Nicktoon based on the network’s past performance and the unrealized brilliance that ATLA was yet to become. He was hunting the Avatar; Aang appeared conveniently from an iceberg, and perhaps the first thought one could have about Zuko was that he was a young Captain Ahab; doomed to sail the seas in pursuit of his white whale. Fortunately, that conclusion was both premature and rather short-lived. Once it quickly became clear in the first half dozen episodes of the show that it was a world-building, story driven narrative- a sharp departure from the Nickelodeon formula up to that time, and far more in line with anime counterparts from the East, Zuko’s character immediately became far more interesting. Traveling with his Uncle Iroh, the only person in the world (aside from his mother) who could truly claim that he loved him, the season 1 Zuko’s obsession with finding the Avatar formed a rivalry with the arrogant Admiral Zhao, a man who foolishly believed he could capture the moon spirit and destroy it, all in the name of personal hubris. The true purpose of Zhao’s role in the story though was to show what would happen to Zuko if he continued down that path of blindness; dragged into the Spirit World of that universe, Zhao was forever trapped, driven to insanity by his ambition (which is revealed fully in a cameo in the second season of The Legend of Korra.) It took Zuko taking off with Aang’s body into a frozen wilderness, nearly dying in the process, and personally seeing Zhao literally dragged into what can be construed as the depths of hell to start realizing that his task- his “mission,” which was to regain his “honor” by capturing the Avatar, was a convenient way for his father- the tyrannical Fire Lord Ozai- to dispose of him whilst simultaneously advancing his plans for world domination.

The beginning of the second season saw these fear confirmed, as his sadistic sister and crown princess of the Fire Nation- Azula- appeared. Fleeing with Iroh upon being labeled “prisoners,” it would be Zuko’s journey through the Earth Kingdom that would start to truly teach him what “honor” meant. Living off the land did not suit the young man used to royalty and (relatively) comfortable living, and ultimately he would be confronted by his own past. Zuko Alone is one of the best standalone episodes in the series, specifically showcasing the struggles Zuko had between his identity as Fire Nation prince and fugitive young man trying to forge his way forward. Another element that resolves itself for him in this season is the ‘Blue Spirit’ alias originally introduced in the first season. Essentially serving as a vigilante double, it was another expression of the young prince not necessarily being honest with himself, or the totality of his person. (After setting the Avatar’s flying bison Appa free from a Dai Li prison, he symbolically sets this Robin-hood esque personality free as well by dumping the mask in Lake Laogai.) This was reflected also by his rage-fueled firebending, which seemed much weaker than that of his uncle, Iroh- the former great Fire Nation general; or Azula, whose prodigious skills were hallmarked by rare blue-colored flames and a mastery of lightning generation. As Iroh would explain to his young nephew about the balance of the elements, so too Zuko would have to find such balance within…but it would not be quite yet. After finding a quasi-peaceful existence in Ba Sing Se, the capital of the Earth Kingdom, the gut-wrenching Season 2 finale saw Zuko make a decision to team up with Azula out of indecision in his heart that fueled the almost extinguished- but not quite- thirst of capturing the Avatar that had been full bore in Boy In the Iceberg. Not to be understated here was the capture of his beloved Uncle Iroh, who he had reunited with and had helped run a tea buisness with in the city. This betrayal, along with that of Katara, whom he’d finally connected with, loomed heavily on the young prince’s mind.

Going back to the initial introductory thoughts of this piece and my Avatar: The Last Airbender review, Zuko’s path had continued to mirror Aang’s up to this point. While the young Avatar had suffered a critical injury in the battle of Ba Sing Se’s catacombs, Zuko had achieved redemption…or had he? Starting with Azula’s lie that he, Zuko, had “killed the Avatar,” doubt crept in from the word “go” on what his decisions had led him to. Season 1’s finale had him nearly die trying to do what was lied about in the wake of Season 2’s finale; and it was precisely the empty feeling of his “honor” upon being received back into the fold at home that Zuko’s journey would finally start turning on a true path of internal discovery. After rediscovering his family roots to his maternal grandfather- Avatar Roku, and feeling deep shame and guilt for Iroh’s capture, Zuko finally started to move on his own. Making his decision on the Day of Black Sun, the midseason finale, Zuko defied his father- the tyrannical Fire Lord Ozai, voiced by the always amazing Mark Hamill, and very symbolically flew off in a Fire Nation balloon, ready to forge a new path for himself- and unwittingly enough,his nation. After being received with less than enthusiastic responses from Team Avatar about his conversion (particularly Katara), he then proceeds for the next number of episodes to bond with his newfound allies in this newly formed life he chose to follow. His previously weak firebending would be replaced by an experience shared with Aang himself; the Dancing Dragon style, which was passed on from “the original firebenders, the dragons.” Zuko’s renewed bending signaled a shift in his motivations and determination; and on the other side, Aang would now be his pupil in firebending, as the young Avatar’s fear of the element had dissipated.

Zuko would also take part in the daring rescue at the Boiling Rock prison facility, where he found a valuable friend in Sokka while rescuing his father Hakoda, and love interest, Suki- a fierce warrior in her own right. It would be at the Boiling Rock where the shift in personalities between brother and sister would become evident- as Zuko continued to be more at peace, forging the path of destiny, Princess Azula, who had been the picture of unnaturally composed in her 2nd season tour de force finally began to snap mentally, ordering the arrest of her two best friends and most trusted “henchpeople” up to that point- Mai and Ty Lee. As the heroes escaped, her descent into madness began; a story point that would resolve itself in the climatic final battle between the two. But first I must mention that our man of the hour makes up with Katara in The Southern Raiders,  a rather selfless act by the prince to help settle a personal vendetta of Katara’s own. That leads us to the part you’ve probably all been waiting for: The final Agni Kai.

Just watch the video above. No amount of exposition or description can really adequately describe the buildup to this moment. Understand this though: far from just being one of the best battles in the entire series, everything is set up to contrast Zuko’s journey against Azula’s destructive rampage. Warm orange flames meet cold blue ones. Zuko’s not alone like he was in season 2- this time, he sticks with Katara. Most importantly, his calm, confident demeanor stands out sharply against the obvious psychosis of the unhinged Azula here. Ultimately, Katara wins the fight and saves him after his selfless decision to protect her, but compare this version of the prince to the one from the start of the show. That’s character development. (Oh, and his foil? Aang mastered all the elements, beat the Fire Lord and saved the world. Not a bad redemption for a coward and an outcast.)

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Like this analysis? Have an opinion? Chime in. Oh, and one more thing:

You knew it was coming. HONOR! HONOR! HONOR!

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All rights to the Nostalgia Critic and Viacom for the contents of these videos.

Review: Gravity Falls

The Lowdown:

Show: Gravity Falls

Network and years aired: Disney Channel/XD, 2012-2016

AniB’s thoughts: I suspect the people who wind up reading this review will have one of a few reactions: a) This show was incredible- I only wished it reached a larger audience; b) “Yeah, I heard about it at some point, but haven’t really watched it,” or c) What the heck is Gravity Falls? Well, I’ll do my best to accommodate all these points of view, because while Gravity Falls reached notoriety among its viewers and fans, by virtue of being a Disney .XD show in its 2nd and final season, it most likely did not reach the entire audience it could have. That isn’t to say that it’s an obscure show- because it’s not- but more so because it was a show that deserved more exposure than it got, especially considering its brilliant, final 6 months airing the remainder of its new episodes, which wrapped up with the conclusion of the Weirdmageddon arc nearly a year ago on February 15th, 2016. This show, without a doubt, is probably the best Western animated show of the decade, and it came from a director- Alex Hirsch- who was writing it in his debut as a show-runner. Blending dynamic, interesting and funny characters, a very fresh take on the “summer vacation trope,” quite a bit of inspiration from The X-Files and The Simpsons, and a unique blend of episodic and overarching storytelling styles, all wrapped in a neat 40 episode packages, you get Gravity Falls. And honestly, that description doesn’t really do it justice.

“But AniB,” you might ask, “best Western show of the decade? Are you sure?” Absolutely. Of course there’s stiff competition for that particular title in my head, and while I’ll mention the following shows, this isn’t their review: Adventure Time is probably the best representative show of the decade, debuting in 2010 and still going strong, but not the best overall; some will claim Steven Universe, but that series is not completed yet and lacks certain facets the very best shows have (but its emotional storytelling? Brilliant.) What of Rick and Morty, the Adult Swim phenomenon? Overrated by a vocal crowd. You can love your shows and your memes, but don’t confuse them with overall quality. And while I do enjoy The Legend of Korra (of which I already wrote a review about), Gravity Falls is a tier above it- but to be fair, they are hard to compare shows simply because in terms of style and substance they are very different. What makes Gravity Falls unique is that it’s not only all the aspects I’ve already described, but at the heart of the show lies one of the best sibling relationships ever seen on a TV screen- that of Dipper and Mabel Pines. It’s not a forced sort of relationship, where one sibling is pushy and the other is meek, or the trap where writers create tension between the two for the sake of having it, but it’s wonderfully organic; two different kids who are undeniably close at the end of the day- and mostly, “human” is the best word. As it turns out, the twins were inspired by Hirsch and his sister; a personal connection to a show, combined with a vision to end it on one’s own terms as a creator usually yields great results.

Gravity Falls is for me a personal favorite that I happened to come upon halfway through its run, but even divorced from that affection as a critic, it’s a show that was clearly designed to entertain anyone– as it targets both an older and younger audience adeptly. The logic that “the secret to writing a show that’s entertaining for kids is to write for adults” holds true here; the twins’ “Grunkle” Stan is a con-man with a complicated past; there are references to everything from Mad Max to the boy band craze of the early 2000’s; crazy creatures straight out of mythology appear in unorthodox ways, and the satire and symbolism in the show is not only obvious, but hilariously well done. And the show has its darker elements too- led by the major antagonist of the show, the fast-talking mind demon with truly outsized ambitions- the chaotic Bill Cipher. Whatever the case, Gravity Falls has something for everyone as a show, and as the show’s finale notes, “see you next summer…” because you almost certainly will be back. Take a trip in the woods if you haven’t, and you might just find a gem.

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Animation Quality: Traditional 2-D animation, painstakingly done with care. Simplistic style of characters is very worn and familiar in feeling, reminiscent of The Simpsons (one of the show’s inspirations) and earlier cartoons. Background sets are varied, highly detailed and well thought out, hiding Easter eggs in the episodes. (The show runners actually hid keys in every episode to solve ciphers embedded in the credits of the show; this was a truly impressive detail and tied in the mystery element of the show on a whole new level for fans.) For this style of show,  the attention to detail, the animation style, and the way it builds the universe- it’s all very highly appealing. 5/5 points.

Characterization: Featuring a rich, diverse and dynamic cast, Gravity Falls lays claim to some of the most funny, likable and heartfelt characters from any show. With excellent development, the main cast is very endearing in distinct ways.

Dipper Pines, the main (c0-)protagonist and one of two twins, is an intelligent 12 year old boy who becomes engrossed in the mysteries of the titular town and grows to learn a lot about his abilities and shortcomings as a person. Dipper, as you might expect, has strengths and weaknesses that contrast with his sister; while he has a nose for mystery, discovery, reading and the like, he is physically weak (though improves through the course of the show), quite introverted in certain social situations, and often seems all too eager to grow up, forgetting sometimes to enjoy his childhood (and each day, for that matter.) He also cares extremely deeply for his family; he has innate courage that comes out when most needed.

Mabel, his sister, is a ham, preferring to keep a bright outlook on life while quietly fearing the prospect of growing up (in contrast to her brother). She is all things “fun and random,” preferring social activities with her friends in Gravity Falls (Grenda and Candy), such as listening to pop music and having slumber parties. Most distinctive about her is her one-of a kind sweater collection, which she constantly knits off screen. (She wears upwards of 100 distinct sweaters over the course of the series- can you count them all?) As I highlighted in my thoughts,  the two twins share a sincere, sweet bond that is one of the best portrayals of siblings in any show.

Their great-uncle, or “Grunkle” Stan, is one of the most well-rounded older characters developed in animation. Billed initially as a shyster of a tourist trap (The Mystery Shack), Stan’s motivations and character turn out to be far deeper than simply turning a profit. (MAJOR SPOILERS, turn away if you must): Stan’s real motives are to fix a 30-year old rift gate (that rends time and space) in order to rescue his long lost brother, who in turn he must also mend his relationship with. Despite his questionable habits and disposition that most would see as “grouchy” and “cheap” from afar, he’s got a heart of gold for family (and brass knuckles for anyone who messes with them!).

As for Stan’s employees, Soos, the Mystery Shack’s handyman, is fleshed out as a sweet, naive man-child, with plenty of warmth and a helpful hand, despite serving as comic relief most times, and Wendy, the Shack’s other employee is the most believably cool teenager in a long time on an animated show. The only daughter in a family full of sons that are lumberjacks, she’s a classic sort of “cool” without really forcing it.

A quick mention here to Bill Cipher, the “dream demon” and triangular-shaped  main antagonist, who in turn is a brilliant portrayal of a chaotically evil villain, containing a blend of dark humor and truly threatening qualities. I’ll also mention Gideon, the strange Southern-accented faux psychic who serves as the 1st season’s main threat. The rest of the cast is also intriguing and generally very funny, including the mysterious author of the journals. 5/5 points.

Story quality: The show has an impressive story arc, but also is episodic, with most episodes able to stand on their own. The finale lived up to massive hype, completing everything in most satisfying fashion. Even the supposedly “filler” episodes advance the plot, whether through subtle clues or through focused character development, so there’s no real filler in the traditional description. There’s impressive detail to hidden codes, genuinely funny moments abound, and very clever satire exists throughout the series. More serious scenes are treated with painstaking detail and add balance to the lighter parts of Gravity Falls. 5/5 points.

Themes: Definitely focuses on mystery and the wonders of unexplained phenomena. However, the show also focuses on friendship, growing up, familial bonds and brother/sisterhood. Uses certain symbolism related to secret societies and the like to set the tone in a very savvy form of satire- the more you mess with this stuff, the worse things become! (It’s also a subtle criticism of  messing with such groups and supernatural forces). Indeed, all these ideas come to a head in the satisfying final arc. 4.5/5 points.

Don’t insult the viewer: Gravity Falls is an incredibly smart show, balancing the kid audience on one hand and the older audience on the other with great characters, storytelling, and very smooth animation. The level of painstaking detail and the great score add to the show’s charm as well. And how can I not mention the incredibly catchy theme song? (And it even has a special variation…) 5/5 points.

Total Score: 24.5/25 (98%). The first show run by creator Alex Hirsch turned into arguably the greatest animated show of the 2010’s and one of the better animated shows of all time. With a blend of memorable characters, superb writing and animation that brought out the best of the medium and a widely universal appeal, Gravity Falls showed the power of Western animation at its finest.

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Review: Dragon Ball Z

The Lowdown:

Show: Dragonball Z

Network (Studio) and years intially aired: Toei Animation, (Japan 1989-1996), USA- Cartoon Network 1998-2003)

AniB’s thoughts: Ah, the show that really brought anime into its own in the West; that gave Toei Animation a much bigger name, and that anybody who ever claimed to love the genre has laid eyes upon: Dragon Ball Z. I’d have to imagine that for many a reader, you lived through plenty of late nights on Cartoon Network’s Toonami block (before it was Adult Swim) at the turn of the millennium absorbing in the adventures of the one anime character even the most casual of TV watchers might know- Goku- in all their action-packed, blood and sweat filled, 4 hours of yelling filled glory. If you haven’t seen the series, it’s the 25- year old predecessor to the currently airing Dragonball Super, but was not the original iteration of the Dragon Ball franchise- that honor belongs to the same-named show that aired originally in Japan from 1986-1989, which among other things, shows Goku in his formative years and the introduction of franchise standbys such as Bulma, Master Roshi, Krillin, and Piccolo. But, as this review focuses on Z, I’ll save the details of the original series for another day.

Dragonball Z was an archetype show for anime that came after it for many reasons. However, it too was likely inspired by another of Toei’s works from the 1980’s- Hokuto no Ken, or in English, Fist of the North Star, which set templates for fantastical post-apocalyptic worlds and much more importantly, the idea of the superpowered shonen badass who has the capacity to be the strongest, faced by ever increasing challenges, higher stakes and powerful foes. Dragon Ball Z took that concept and ran; every danger was a planet-busting monster with little in the way of redemptive qualities (sans Vegeta, whose character development turns out to be the best of anyone in the show), which ultimately concludes with the pink blob destroyer of worlds, Majin Buu. But aside from the fight sequences, there were other reasons Dragon Ball became beloved: The FUNimation dub is fantastic to this day (and even better with updated Kai animation and lack of filler); we came to love the characters of the DBZ universe, which beyond Goku included people growing up with his eldest son Gohan; Piccolo’s transformation into one of the good guys, Future Trunks appearing in his debut to slay the rebuilt Mecha-Frieza and his father to bits, and of course, Vegeta, whose undying thirst to be the greatest warrior in the universe had an unexpected transformation in his character, giving us the greatest of rivalries. Even Frieza and Cell had their fans (though Buu’s only confirmed one was Mr. Satan, the self-proclaimed “hero of the world.”) And who could forget the dub opening of “Rock the Dragon?” (Mind you, the original Japanese opening has its own charm as well.)

Whatever the reasons, DBZ transformed into a cultural phenomenon the way few shows and fewer anime do. There are plenty of fine shows out there, but few ever make it quite as big as DBZ did. It’s not the greatest anime ever created, but it very well may be one of the most influential, and cultural affluence aside, is a pretty good show, aside from copious filler in parts and fights that literally stretch on for hours (though it’s part of the show’s experience.) So, without further ado, here’s the breakdown of Dragon Ball Z!

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Animation Quality: Classic hand drawn Japanese anime from the 80’s. It was excellent for its time, and was brought up to date in Kai, but the original still has a nostalgic charm (which admittedly looks dated, but that’s an aside). The animation is especially brought out in action sequences; example include the famous struggle on Planet Namek between Goku and Frieza; the climatic fight at the Cell Games, and of course, the iconic beam struggles popularized by this show. (There’s a bonus point here, as Kai’s essentially a better remake with superior animation, so take that into account): 4.5/5 points.

Characterization: Dragon Ball Z boasts a surprisingly large cast of characters, many new, but also many holdovers from predecessor Dragon Ball. Despite the size, it focuses on a few main characters, namely Goku, and as the series progresses, Vegeta.

Goku (better known as Son Goku in Japan) is the main protagonist of the entire Dragon Ball franchise. Known for his insatiable appetite for both training and food, Goku transforms from a simple minded nice guy into one of the fiercest, toughest warriors in the universe- (spoilers- not really!) a Super Saiyan when drawn into battle, where he is veritably a combat genius. Gaining various powerups and powerful new abilities at each step along his journey, Goku’s will and drive to become the strongest for his own sake (and to protect those he cares about) helps him to overcome all the obstacles in his path, however insurmountable they may seem.

Vegeta is the self-proclaimed “Prince of All Saiyans”- the last of the former royal bloodline of the destroyed Saiyan homeworld. Originally coming to Earth with fellow companion Nappa in an attempt to find the Dragon Balls (for those who really have never seen this show, the titular items summon a wish-granting dragon, Shenron), Vegeta has a change of heart after an epic battle with Goku, starting on an intertwined destiny with his new rival while serving as a personality foil and anti-hero. Boastful, tougher than nails, and arrogant to boot, Vegeta’s pride knows no bounds, and while it makes him very strong, it is also his fatal weakness.

Aside from these two, Goku’s son Gohan plays a major role as well. Introduced as a young child at the start of the series, he is a quiet, shy boy with genius intellect and initially no fighting prowess. However, a confrontation with the first villain of the series reveals Gohan’s incredible hidden power and potential, something that first Piccolo and then Goku train tirelessly with Gohan to draw out. Their efforts do eventually pay off…and Gohan’s character arc is very good.

Trunks (both Future and regular) are Vegeta’s son. Initially appearing as anonymous Saiyan through time travel with a sword and the ability to go Super Saiyan, it is revealed through the course of the following arcs that he is in fact, Bulma and Vegeta’s baby. (During the Majin Buu saga, the present timeline Trunks, a young boy, appears as a major part of  the cast, along with Goku’s second son, Goten.)

Piccolo also deserves a mention in this column. Initially still Goku’s great enemy from the 23rd World Tournament in Dragon Ball, Piccolo quickly becomes an anti-hero out of necessity, and upon taking up the mantle of surrogate parent and trainer of Gohan, purges the evil out of his heart. He too receives several powerups through the series (though not to the same level as the Saiyans), along with a great deal of wisdom and a distinction as the Earth’s strongest non-Saiyan fighter.

Finally, there’s Krillin. Goku’s first training partner with Master Roshi, Krillin’s devotion to his friends and great spirit help keep him in titanic struggles despite being utterly outclassed by all the major DBZ villains as a human. Quick with a joke, he invented the Destructo Disk technique and later, gets another certain character to somehow fall for him. (The others might be much better fighters, but it can’t be denied Krillin’s a ladies man!)

A quick final mention goes to the major villains of the series, topped by Frieza, the insufferably pompous, polite and sadistic galactic overlord; Cell, a genetic abomination created by the evil Dr. Gero in an attempt to create the perfect fighting android, and Majin Buu, a destructive force with not much in the way of words, but plenty in terms of livability and combat prowess. Inevitably, the major problem with a cast the size of DBZ, not everybody gets enough screentime. 4/5 points.
Story quality: Dragon Ball Z is a canonical show with a progressive story, the typical format of most anime. The story focuses on four (five if you count Androids/Cell separately) main arcs, though they tend to be very long in the original due to the presence of filler. Overall, the narrative is gripping and strong, if simplistic; the writing is generally on point, and the action sequences are satisfying in that 1980’s/1990’s way. It is an action show with some actual weight in universe, and because the characters create such a strong attachment, the story itself becomes more compelling.  4/5 points.
Themes: Family, saving the universe/world, fighting for justice, pushing your limits, a never can die attitude, self sacrifice… and a whole lot of fighting, hence violence. It goes without saying DBZ’s pretty intense. It’s good to actually have some strong elements of thematic relevance in a show of this style, and the things it does focus on tend to be done pretty well. 3.75/5 points
Don’t insult the viewer: The Frieza battle comes to mind as being an endurance test. Otherwise, the show doesn’t assume its viewers are too young, even though you probably were when you first watched this. Epic 90’s rock score in the American version really sets the tone in intense ways as well. 4.75/5 points.
Total Score: 21/25 (84%). While Dragon Ball Z has its flaws, its cultural impact is undeniable (although discounted in the grading analysis). It was a great show then, as it is now, and set precedents for many popular anime that followed it. The characters are also iconic, well known beyond Japan, especially Goku, Vegeta, and Frieza (who was THE villain when he appeared back in the day). It is a classic in many hearts, and these ratings mostly reflect that.

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