Bokura wa Minna Kawaisou (anime & manga comparison)

Zenko-Anime-smallZenko here!  (For those who don’t know, I’m Akko’s other half.)  Besides helping Akko out with the anime reviews, I’m starting to write reviews of my own, focusing primarily on comparisons of anime and manga versions of a story.  My writing style is vastly different from Akko’s, so if you usually visit his blog for his succinct and analytical critiques, be warned that you will not find it here.

As often seems to be the case recently for me, I had seen the anime a few years ago, watched it again recently, then took up the manga and read through all 85 chapters of what Crunchyroll Manga has to offer of “Bokura wa Minna Kawaisou.”  Like its English title of “The Kawai Complex Guide To Manors And Hostel Behavior,” the Japanese title bears a pun, at the same time meaning “we’re all from/of Kawai Manor” and “we’re all pitiful.”

Misfit Freaks and Awful People

What happens when a masochist, a drunk, a man-eater, a bookworm, and a freak-magnet live together under the same roof?  Well, apparently a lot of insane antics and a few sweet ones.  Today’s comparison covers the odd story of a boarding house’s weird, lewd, trouble-making tenants and the house’s pleasant yet mischievous manager.  Our newcomer protagonist finds himself once again the freak-magnet as he becomes essentially the bullied youngest sibling in a family of bad personalities.  His only bright spot in the house is his cute, book-loving sempai—who’s also taciturn, cold, and absent minded.  His earnest pursuit of her is fraught with crushing failures, many of which are deliberately caused by bitter (or bored) members of the household who take delight in ruining the innocence of youthful romance.  And yet…well, I’d love to say, “and yet, they are still a family,” but quite frankly, it’s slow to come to the surface.  It’s in there, hidden somewhere among the bondage rope, saké bottles, makeup, and piles of books.  Somewhere there are giant bubbles, water fights, a few rescues, and when you’ve had a bad day, your favorite meal is waiting for you at dinner.

“Chaos Living Room”

Art Style and Character Portrayal

In initial comparisons, the anime fairly accurately portrays the chapters it covers in the manga, so there isn’t really anything concrete that it differs in.  Ah, but it does differ—in feel.  Here is one where I will actually talk about the difference in character design and drawing style.  While many anime adjust the drawing style to be a little better proportioned and slicker, this is an interesting example of their simplifying the character designs.  Personally, I thought this choice robbed the characters and their facial expressions of a certain charm.  The girls had a particular beauty and cuteness to them in the manga (when they aren’t being horrible to each other) that the anime completely skipped out on.  The basics were there, but not the eye-catching moments of delicate appeal and graceful lines.  This is particularly marked in Mayumi, the drunk OL (office lady) who has horrible luck with men.  In the anime when she gets dressed up, she looks like she’s trying too hard.  In the manga, she really is beautifully charming, and it emphasizes her innocent longing deep down for a man that won’t be a jerk and fraud.

Ritsu and Mayumi, manga vs. anime. Which style do you prefer?

The facial expressions, too, were quite striking in the manga.  I would sometimes stop reading just to look at them and enjoy the great portrayal of a particular emotion or a complex mix of ones.  The original manga artist really has a talent for faces, and it really added to my enjoyment of reading the manga.  It added a certain extra element that made the characters more intriguing than I found them to be in the anime, which did not take advantage of these facial expressions.  Consequently, the anime’s more straight-forward approach to the characters’ portrayals left them as somewhat flat—awful people with a few endearing moments.  Having watched the anime twice before reading the manga, I still did not grow attached to the characters—rather, they were somewhat entertaining to watch, but still with the distance of “I wouldn’t actually like to know these people.”  The manga, however, gave glimpses of deeper character that really does slowly unfold as the manga progresses past the point in the story where the anime leaves off.  While most of them are still a freaks that the average person would stay clear of, the manga does portray them in a way that there is something about those freaks that makes one want to know more.

The Adults of Kawaisou

Something essential to the story that goes across both the anime and manga is the fact that, with the exception of the house manager Sumiko, the adults of the house are terrible or useless people in some way or another, while the two high school students are relatively normal, decent people.  Sumiko and Shiro (the masochist) are the only ones perhaps to provide any real sort of advice or wisdom (though Shiro’s is often then hard accept gratefully as he usually can’t help but finish it with something reminding you abruptly of his more off-putting tendencies).  Other than this, there are no good adult role-models.  The adults in this tale are children.  I will say, though, that the anime finishes up before the story starts to go into this aspect with an interesting look at the hopes, dreams, accomplishments, and unwanted pasts of the three child-adult tenants.

As you may have noticed, Sumiko is an exception to the child-adults.  The manager of Kawaisou is my hero.  I want to be her when I reach her age!  (In fact, in look alone I wouldn’t be too far off….)   Though a woman of advancing middle-age, she is youthful in soul, fun, sweet, mischievous, but with the best heart for everyone in the house.  At the same time, though, she knows how to keep them in line.  Sayaka, the man-eater college student who’s apparently horrifying without her makeup, bears a respectful fear of Sumiko and will not cross the line when Sumiko warns her.  Sumiko is the one who prepares your favorite dinner when you’ve had a bad day, she’s the one who will listen to your confusions and frustrations, and she’s the one who will appreciate you more than anyone.  If anyone makes this pack of freaks feel like a family, it is Sumiko.  (Though, I will add that Shiro the masochist does create many fun activities for the whole group that does bring them together and brings them joy.)

Sumiko, my hero

In Conclusion

So, what do I recommend?  Quite frankly, if you liked the anime at all, I recommend the manga—and do start from the beginning!  The impression it gives is a little different, and this grows as intriguing moments and subtle hints to the inner-workings of characters develop and begin to reveal depth.  By chapter 85, it has gone some interesting places as characters learn more about themselves and each other as they clash and even grow closer.

And if you started with the manga?  Don’t even bother with the anime.  I honestly cannot think of anything that the anime does better or in a positively different way.  By comparison, it is a dull representation of the story.  Stick with the manga, and let’s look forward to what will continue to unfold in this odd tale of misfit freaks and awful people who clamor and fight their way through life together as housemates.

Kawaisou Renaissance: a windy incident with the laundry turned hilarious. This was splendid in both versions.

Kimi to Boku (You and Me) – Anime and Manga Comparison

Zenko-Anime-smallZenko here!  (For those who don’t know, I’m Akko’s other half.)  Besides helping Akko out with the anime reviews, I (very) occasionally write my own.  Ok, so really just one so far, but I’ve been encouraged to write about anime and manga comparisons, so here I am.  (And with my own blog writer name now, too!)  My writing style is vastly different from Akko’s, so if you usually visit his blog for his succinct and analytical critiques, be warned that you will not find it here.

A Leisurely Stroll Through High School Life

Today, I will discuss the anime and manga of “Kimi to Boku” or “You and Me.”  I binged both seasons of the anime a few years ago, then recently found that I was curious about it again since I had forgotten almost everything but a few little scenes that I thought were funny.  I’m ever so glad we watched it.  Inspired by the curiosity of how the characters’ lives continued after the stories portrayed in the anime, I took up the manga, of which I finished all that was available in short order (through chapter 70, which is the first chapter of volume 15).

The story is one of growing up, looking back at childhood, making the most of the present, and slowly coming face to face with the unknowns of the future.  Full of silly antics, playfully idiotic enthusiasm, the grumpiness of growing pains, and little touches of really sweet romance, the story maintains an endearingly down-to-earth quality.  It is definitely slice-of-life with a somewhat slow pace, so don’t come looking for long story arcs of drama with succinct conclusions.  Rather, visit “Kimi to Boku” for an entertaining stroll through high school life, punctuated by little moments of character relationship progression.


Manga vs. Anime

So, let’s get down to comparisons!  Assuming that the manga I read online included all the chapters properly, only the first episode of season 2 was anime-only.  In general, the anime faithfully portrays the chapters that it turned into episodes, although they did switch the order of some stories (or even scenes within a story), and also skipped over a few chapters.  Some of the order change seemed to be for storytelling and pacing reasons.

For example, the Cafeteria Cinderella story pretty much happens all at once in the manga, whereas they let it stretch over both seasons of the anime (with, of course, unrelated episodes in between).  The impression the anime gives, though, is that she was around for a while and Yuuki just lackadaisically never talked to her after his initial fascination of her unruly hair, only to be prodded into some sort of action by her sudden departure.  In the manga, however, the timeline is drastically shortened, which places more emphasis on the brief burst of impact she had on him and his almost impulsive decision to give her the plates when she leaves.  In many ways, it tells a different story about Yuuki’s character.  (In my personal opinion, I lean toward the shorter version portrayed in the manga.  What do you think?)

Awkward Mystery Explained

One of the first things I noticed and found particularly interesting upon starting the manga was that the primary elements of the show that I found to be awkwardly put in actually had a full and legitimate reason to feel that way.  Of what do I speak?  Well, two things, actually.  First, four out of five of our main characters have known each other since kindergarten, and they seem to look back on that time a lot, comparing things they learned about life then with their life now as they learn something similar or from a different perspective.  It’s great that they’ve known each other for so long, but the focus on kindergarten felt oddly far back to look and to dwell on.  Second, there seemed to be an odd focus on Azuma-sensei, as if he were more part of the story than his screen time.  Then, when his own childhood friend (Akira) is introduced, there’s almost this feeling that he is better known or more familiar than the couple of episodes in which he makes an appearance.

Kimi to Boku manga page
Page from chapter 3 “Children World” showing Azuma-sensei and Akira in high school, visiting the boys’ kindergarten.

Well, folks, it turns out that originally the manga artist had a four-panel story going that was about four kindergarteners (our very same heroes of the present) and a couple of high schoolers (the teacher and his friend), and sometimes their stories overlapped!  Case solved.  The manga includes a few of these tales from the past and connects them in the first several chapters, but then the references to it eventually dwindle to a more natural reminiscence of particularly notable moments (such as Kaname’s crush on his kindergarten teacher).  This also brings up one of the few times that the anime changed a whole scene and actually simplified it.  When Akira first shows up in the manga, he is not only unnamed, but one cannot see his face, and it’s an entertaining reveal when it turns out to be the childish shorty from the high school part of the four-panel manga, now all grown up!  In the anime, as I said, they simplified it because there was no antecedent for him, but there was that lingering flavor of “you should know him,” that I was tasting and not understanding.  Really, I just find it interesting to note.  I love it when things suddenly make sense.  I love understanding and reasons for things.

Storytelling in Love

Ok, moving on to the main element I wanted to talk about: storytelling in love.  Four out of the five boys (sorry, Shun-chan) face romantic encounters that bear a certain bittersweetness.  They are just very real-life moments of talking with the girl, often without any great change in their relationship but for some impression or impact on the boy in particular.  The portrayal of each of these scenes in the manga is rather straight-forward, showing only the actions of the moment, hearing the words spoken and the acknowledged words of the heart as each boy learns something about himself.  They are touching moments, but simply executed.

The anime, however, chose to portray these with a little more impact.  They don’t change any of the particulars, but instead present the moment with an overlay of simile or imagination.  The shots of these silent images cut in during the conversation, and show glimpses into the boys’ thoughts, feelings, and inclinations as these relationships grow, change, or fade away.  At first, they seem a little jarring or unexpected, but then they really begin to add to the storytelling.  Afterwards, I looked back on the first ones that I found more awkwardly done, and they, too, included many notes of added meaning.

At the risk of spoilers, if you haven’t watched the anime, I’d like to briefly discuss each one.


For Yuuta, he and the girl (Takahashi), are alone on a train, both passengers in life.  In Japan, strangers do not interact on the train, but he and Takahashi are here together, though distant.  Ever the observer, he watches her as she sits slightly facing him (she is the one who liked him in the first place, after all).  As the conversation in real life continues, on the train he moves closer to her, and begins to reach out to touch her face.  His desire to interact with her more directly translates into action in the real world as well, and he is able to make a small but impactful gesture of compassion and encouragement.  Though their somewhat faux relationship is brief, they are no longer strangers on the train, and may interact again in the future.

For Yuuki, the Cafeteria Cinderella is older, more mature, no-nonsense, and a woman of mystery to him.  Their silent image overlay presents them in black formal attire against a mundanely utilitarian, white brick wall—an interesting mismatch between them and their surroundings.  She faces away from him as if to walk away while he watches her.  Their interaction is brief, distant, and demonstrates a certain contrast, just as they are from two very different places in life and in personality.

Let’s skip to Kaname next.  The sun is officially setting on his long-standing admiration and love of the woman several years older than himself.  Kaname is rather practical and not prone to flights of fancy, so perhaps it is no surprise that there is no new setting for his silent image overlays, only the road on which he has been walking with her as the sun goes down and the distance between them lengthens as he remains silent.  It is melancholy, yet memorable.

Finally, I’ve saved the strongest storytelling bit for last: Chizuru and Mary.  His silent overlay is more involved, appears more than once, and tells a story of his hopes, wishes, surprising innocence, and patient persistence.  For the energetic, usually cheerful, and fun-loving boy of youthful idealism, what imaginary setting could be better than a small bit of beach with warm sand and a brightly shining sun?  But it’s not just the backdrop, his interactions there are interesting.  As his feelings for Mary begin to dawn on him, she appears in this beautiful world, bushy hair, school uniform and all, bare feet in the sand as though she had been there longer than he had realized.  When he consciously chooses to put her happiness before his own and helps her give a gift to her crush, the Mary on that little piece of idyllic beach now holds a paper in front of her face.  The paper has on it the simply-drawn, generic face that is commonly drawn with just a few Japanese letters in the arrangement of two eyes, a nose, and a mouth.  Chizuru begins to feel that his one and only is someone he hasn’t met yet, her face unclear to him.  But as he begins to walk away in the real world, Mary returns and shows him thanks and kindness.  Suddenly, the paper with the generic face is tossed aside, and Chizuru knows that it is Mary that he loves.  Some time later, when things are awkward between them, the Mary on the beach begins to wander and avoid him, almost as she is doing in real life.  Chizuru begins to move the chair he had been sitting on as he gazed at her, but she continues to avoid him.  Eventually, he goes to her where she is on the beach, and gives her the chair, just as he has always met her where she is, tried to put her at ease, and now he patiently waits for her.

Chizuru projects a personality of flashiness, rebellion, playboy tendencies, and even cheerful idiocy, but in actuality, he is pretty much none of it.  As a person, he has good character and is surprisingly innocent.  He is at his most mature when it concerns Mary (well, for the most part), and when it comes down to it, he is kind, considerate, patient, and utterly devoted.  He still blunders through things, makes foolish decisions, and really is a cheerful idiot (that part is true), but his good qualities make him very endearing.  In my opinion, their slowly progressing relationship is the highlight of both the anime and the manga.

A few more comments to wrap this up…

As an anime, “Kimi to Boku” overall faithfully brings the tales of the manga to the screen while enhancing the storytelling through added moments of simile.  It’s pace occasionally strays into sleep-inducing, but Chizuru in particular seems to keep it going as a point of comedy and as the only character whose story particularly seems to progress.  If you enjoy the manga, I recommend a watch of the anime for the storytelling additions and the excellent cast.

As a manga, “Kimi to Boku” does struggle to find its voice for the first few chapters, but once it knows who to focus on and what to tell, it charmingly (though somewhat simply) builds the characters, their relationships with those about them, and their understanding of the world and themselves.  If you enjoy the anime, I highly recommend the manga to continue the tale of the boys as they continue to grow.

Both versions take a somewhat poetical view of high school life, highlighting both the fun memories and the struggle of youthful feelings, but I believe that it balanced it well enough to keep from being either downright goofy or downright sappy (though, if I were to say, it errs nearing the sappy side of things).  They present some good goofballery and slapstick, then peer inside the hearts of characters for the bit of character drama that grounds the story and pulls it along.


Konosuba – Short Review


Konosuba is a somewhat sarcastic comedy in a fantasy setting.  The anime is generally on-par with the genre average, and many new to the concept probably won’t be disappointed.  Much of the strength of the anime will come from its irreverent glance at the genre and its occasionally incisive commentary.

While Konosuba’s pretty entertaining at first, it tends to get somewhat stale by the end since its comedy comes primarily from “reaction catchphrases.”  Basically, the cast is composed of characters that react in one particular way to a given situation.  One-off characters aren’t necessarily a bad thing, so long as the situations are odd and unique enough to make the characters’ quirks shine.  Unfortunately, Konosuba doesn’t vary the settings or the situations enough to have the one-off weirdness shine the way it would with appropriately bizarre and crazy situations.

The most unique part of the anime is its twist on a “stuck in a game” setup, instead replacing it with a fantasy world functionally similar to a game.  This avoids much of the problems that plague the “stuck in a game” anime subgenre.  One of the biggest weaknesses you’ll find with these kind of anime is the under-utilization of the world.  There is no meaningful distinction between the real world and the game world like you’d find in the one of the first to use the concept, .hack/sign or the more recent Log Horizon.

All in all, not a bad place to start, but there’s a lot better out there.


Kamisama Kiss (Season 1 & 2)

Very Good

This ended up being a surprisingly good random pick.  Kamisama Kiss is another anime that’s somewhat difficult to place.  It’s probably best described as a blended romance and comedy anime rather than a romantic comedy.  This anime is generally low-key and pretty unassuming, but permeated with a thoroughly sarcastic tone.  Although you’d expect the anime to be pretty frivolous, it ends up going some pretty serious places.

Purpose: Very Good.  There’s a pretty big subject matter difference between the first and second season.  Generally, the first season is more slice of life-y, since it’s about learning how to be a god.  It tends to be a little more episodic, but it was held together by the budding romance.  The second season changes direction and takes the anime into much more serious waters.  It’s much more about the characters and character relationships at that point.  Really, that’s where it hits its stride,  solidly weaving drama and comedy into the romance elements.  That said, on a broader note, the anime can be divided along season lines into two general categories.

Characters: Very Good.  One of the notable things about the characters was the inclusion of a rare tsundere male.  He wasn’t exactly the most distinctive male tsundere, but the personality was done quite well.  What made his role much stronger was the inclusion of two other foils, who really ended up highlighting different aspects of his character.  For that matter, character development was handled in interesting ways, marking a very distinct difference between the humans and non-humans.  The most interesting dynamic that they created was the difference between characters that are several hundred years old, yet still young, and “normal” humans. Eventually, they managed to round out the main and supporting cast enough that each had a solid amount of depth, resulting in some level of respect for the characters.

World: Very Good.  Much of the world development comes in the second season of Kamisama Kiss.  It solidly builds off of existing Japanese mythology, but adds a more personal twist to the pantheon.  Though you see it occasionally, this anime definitely “humanizes” the gods (kami.)  Eventually, you get a much clearer picture of how things work in the world because it takes on a more consistent feel.  It’s a good thing, too, because the world is what supports the much stronger drama that happens in the second half.  That said, there’s still a lot of things that are only touched on and left unanswered.

Plot: Good.  The plot wasn’t too special, overall.  The first part had a fairly trivial feel that comes from slice of life type shows.  Plots were pretty straightforward and didn’t really span more than an episode.  That said, there was always the main romance plotline running through things, which kept things moving.  The main romance itself makes a huge leap once it gets to the second season, where you delve into the characters’ pasts.  In addition, there are several more interesting dramatic plotlines that appear.  The latter drama is where most of the plot’s power comes from, since it’s able to build upon both the main romance and some really interesting things aside.

Storytelling: Very Good.  There was a really good use of animation change to suit particular scenes.  Basically, they’d change the animation style to emphasize certain aspects of the characters.  Mainly, it was used to make the scary yokai seem more approachable and endearing.  Although it really came into its own when the characters’ personalities started bouncing off each other.  It does take a good while for that to happen, though.  Animation aside, the handling of the characters’ “turns” was handled in quite a solid manner.  The viewer got to see things from different characters’ perspectives, but it never felt like “oh, it’s your turn now.”  Of the storytelling, two things really stand out.  One was the “dream-world” of the main character’s past.  It was pretty exceptional in how it was handled – clearer memories were in focus, while things that weren’t as clear were more cartoonish or, well, different.  The other was the handling of the characters’ backstories.  The theme was “the person before you knew them.”  They actually did a really good job of making the characters similar enough, but different so that they seemed unknown to the viewer as well.  It definitely had the feel of the character’s life before the other characters, and even the viewer, knew them.

Pace: Good.  The slowest part is actually the first half.  Basically, it starts off at a complete standstill, slowly building momentum.  It takes some time for all the characters to be assembled, and some more time for the anime to hit its stride, especially with respect to the character antics. Once it gets going, it ends up being a really solid pace.



KanColle is another anime that follows the recent trend of making weapons of war “moe.”  In this case, Kantai Collection is based upon a free-to-play online game.  The basic premise is that these girls have the soul of a warship.  I found it difficult to watch more than two episodes at a stretch because it made me want to play World of Warships instead.  This show is probably of a very limited appeal.  If rather uncomplicated “moe” is your thing, with little bits of action and drama thrown in, then this’d be for you.

Purpose:  Poor.  What were they doing?  At its very basic level, it’s either an advertisement for the game or more of a fan-service aimed at fans of the game.  I’m leaning towards latter.  The overall feel is something to the effect of, “hey, watch the girls/ships you’ve already gotten to know playing around!”  They throw in many concepts and situations that are clearly from the game, but, without that context, are pretty meaningless.  I’m not arguing that they failed at their purpose, quite the opposite.  The premise itself is weak.  What is odd is that they do manage to create some dramatic sequences and have bits of darker drama hinted at in there.

Characters: Not Really Good.  There are quite a bit of characters to keep track of.  Unfortunately, it really only limits them to occasional cameos.  The characters themselves are fairly nonexistent, more like very one-dimensional set-pieces.  If you think of the “one-gag character,” the character that you know for a singular response or way of acting to everything, that’s just about each and every character in the anime.  There are little bits of character development for the main character that ends fairly quickly.  Similarly, there are glimmerings of potential behind other characters that only show up for a moment near the end.

World: Bad.  The problem is that it’s not a standalone world.  It requires a familiarity with the concepts in the game.  They don’t really explain anything at all.  Even if you accept the basic premise of girls as warships and even if you accept the basic purpose of fighting an undescribed enemy, it still doesn’t amount to much.

Storytelling: Not Really Good.  It’s not necessarily the storytelling’s fault here.  When there isn’t much more than scraps of a plot, you can’t really tell the story.  That said, they did a fine job when there was a definite story to tell.  They made some good emotional moments and occasionally conveyed a sense of danger for the girls.  That aside, much of the storytelling was absorbed in random frivolities.

Plot: Poor.  What plot?  There was a vague overall purpose – defeat the enemy.  That aside, the plot was shattered into more episodic arcs – one or two at a time.  Most of the plots can be described as “here, watch these girls be silly.”   When it did have plot, usually involving naval combat of some sort, it was quite empty.  Rather, there were more holes than plot.  Things just happened.  It was done in such a way that there was no appropriate buildup or trajectory, really nothing to indicate that the events were happening for any reason other than just because.  The result is that it seems like the situations were thrown in at points to create situations, rather than situations naturally evolving based on previous events and the world acting.

Pace: Weak. Surprisingly slow, both for its “moe” moments and its action sequences. Pacing was broken up in odd ways that ended up tipping over itself.  It really gave it a stop-start feel that ended up looking like an obnoxiously played game of red-light green-light.



This is a strange, fascinating, and unique story.  Overall, it seems like an exploration into taking very standard ideas and tropes and putting a highly unique spin on them.  A lot of the anime feels like an experiment into character and relationship development, although not in a bad way. Because of this, we get to see some things that are extremely rare in anime.  To put this in perspective, Katanagatari is a work by NisiOisin, the creator of Bakemonogatari (my #3 favorite series).  Please note that Katanagatari is not related to Bakemonogatari and its progeny.

Purpose:  Excellent.  On a broader note, the purpose is about an individual finding a purpose and the effects of following others’ purposes.  Most of where it’s going isn’t exactly clear until you look back from the top – Episode 12 puts everything in perspective and hammers the point home.  Really, watching this anime is like the passage of time – while you’re watching it doesn’t seem like it’s going too far or too fast, but by turning around and looking back, you see how far you came.  This anime ended in an extremely interesting place.

One other part of the purpose was the experimental quality – doing really interesting things in a short period of time or playing with expectations and doing something differently.  All in all, really interesting to watch.

Characters: Excellent.  To start with, the character design was fairly simple, yet fascinating.  The costuming in particular was highly varied and unique.  The art was done in a relatively clean way that only emphasized key points of characters.

As for the characters themselves, they were interestingly done.  Most of the characters that appeared were developed over the course of a 1-hour episode.  The role most of the characters played was to draw something out or highlight key points in the growth and development of our main characters.  One particularly interesting aspect of the characters was the treatment of the “bad guys,” who shifted and changed role with respect to the main characters.

One of NisiOsin’s strong points is relationships.  In this case, there were several different relationships – the main characters’ relationship with each other and their relationship as a pair in relation to other actors in the world.  All of these interactions were both fluid and unique because they changed based on plot events.  One of the highly unique points of this anime is the way the main characters’ relationship was depicted – I have never seen, in anime, a relationship that conveyed the same level of comfort as our main characters.  The level of comfort subtly developed over the course of the anime and changed how the characters interacted with each other.  It helped guide both sweet and funny moments, giving those moments a very real feel to them.  ll in all, this anime was about the characters and characters’ relationships more than anything else.

As a side note, the first half of Episode 2 was fascinating because it was, essentially, a monologue by NisiOisin about character development – rather it was a depiction of the author’s internal struggle and thought process in making a character.

World: Very Good. Much of the world was about the 12 swords the characters were to find.  That was the broader context driving the anime.  On a more practical level, the swords themselves had an interesting “character” and affected characters in interesting ways, driving parts of the story.  This acted in combination with the setting to really help shape the nature of character interactions.  One interesting thing about how the world developed was a sense of “big players.”  The world didn’t really have a place for “small fry,” which really kept the viewer’s focus solely on the events happening.  Heck, there really weren’t too many lines by “small” characters.  The result was that it helped create an odd sense of importance of the quest and give an almost unforgiving feel to the world.

Plot: Very Good.  At first, it seems as though the plot is very simple and straightforward – find sword, fight bad guy, collect sword.  However, this turns out to be a gross understatement.  Really, those are smaller plot points in the grand plot turning behind the scenes.  It takes quite a while before we actually see what’s going on in the background, because the plot points themselves are acting almost like snapshots of the bigger plot.  That said, the smaller plot points are all about changing the characters’ relationships and standing.  As a result, these points end up really changing the course of how the characters develop and change.  What is fascinating is how the plot ultimately ends up – characters who have changed, yet are the same, things that have changed, yet are the same.  Once again, only at the end looking back do we see what was actually going on behind us.

Storytelling: Excellent.  The storytelling was highly varied, which kept the events interesting.  Although there was a lot of talking, it was always relevant to what’s going on and helped either develop characters, characters’ relationships, or the characters’ relation to the viewer.  The talking points often served as the bridge, helping tie events together into the greater narrative.  One other interesting point was how the storytelling often played on expectations in conveying information.  Really, it was guiding and shaping the viewer in relation to the characters.  For example, they would tell the story in a way that made certain “bad” characters seem good, and certain “good” characters seem bad to the viewer.  Often it served to highlight character motives and reasons for doing things.  On the note of shaping the viewer, the stories were often told in a non-linear fashion to guide the viewer’s attention.  An example of this is where the viewer knows “of course they’re gonna collect the sword,” but they tell the viewer that from the outset, so the viewer then focuses on the how, rather than the result.

Pace: Very Good.  In all, this is a pretty talkative anime, so that tends to slow things down a little bit.  One of the more interesting pacing choices was to make 12 50-minute episodes.  This allowed the anime to “get out of the station” without dragging too much.  It takes about episode 3 until it really starts taking off.  Honestly, the pacing is a bit like a freight train – really slow to get started, but once it does, there’s no stopping the momentum.