BOOB SLAP!

It’s hard trying to survive in the world of slice-of-life comedy with an all-female cast, as it’s virtually impossible to avoid being compared to KyoAni’s previous smash hits. So what do you do if you have been branded ‘Lucky Star season 2′ without being given a chance to come up with an identity of your own? Simple. If you can’t beat ’em, join ’em. Once you’ve got an audience gathered, try to establish yourself in the one thing that matters: the details.

A Channel tells the story–yes, story, because they dropped some hints on there actually being character development somewhere–of four girls in high school. When Tooru (voiced by Yuki Aoi, also known for her  roles as a certain floor-rolling detective and a pink-haired not-magical girl) enrolls in high school, she pays a visit to her senior and middle school friend Run (voiced by Kaori Fukuhara, better known as Tsukasa Hiiragi) to tell her she made it into the same high school as her. However, upon entering her room, she finds her friend in a rather compromising situation with Yuuko (voiced by Mugi with a kansai accent).

Tooru boob slaps Yuuko and procedes to molest her with an invisible chainsaw, while Run introduces her to another friend she made in high school, Nagi (voiced by newcomer Yumi Uchiyama). The rest of the episode flashes forward to all the girls together in high school and focuses mostly on jokes, but also gives us some nice undertones of Tooru trying to deal with the fact that her friend has other friends now, and with Nagi and Yuuko accepting the eccentric Tooru into their group. Sadly enough, this character development is only hinted at slightly, but at least it’s better than the girls immediately befriending each other from the get-go as is the case with a lot of other slice-of-life shows.

What will happen next? (Hint: not much.) Find out after the break!

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These boobs be mad historical.

I’ve noticed recently that quite a few anime critics, myself included, have been using the term “generic” as if it’s some sort of foul sacrilege. We seem to have a knee-jerk negative reaction to anything that contains tropes we perceive to be common or overused. But that’s not really fair, is it? After all, trope by themselves are not bad. Even if a show uses the most well-worn cliches in existence, it can still be entertaining if they are properly executed.

Take, for example, Battle Girls, also known as Sengoku Otome. The plot is a mishmash of elements gleaned from InuYasha, Sailor Moon and Samurai Girls, but still manages to be engaging. The characters are archetypes we’ve seen a dozen times, but they’re forceful enough to be memorable. The animation is limited and cuts corners, but still delivers where it counts. This show is profusely derivative, containing absolutely nothing original. But despite this ostensible shortcoming, a whole lot of fun to watch.

The story revolves around Toyoomi Hideyoshino, who (thanks to her unusual name) is called Hideyoshi by her classmates. She’s a recidivist slacker who prefers to spend her time reading celebrity blogs and texting, despite her plummeting grades. After a particularly stern lecture from her teacher, she decides to stop by a shrine in the hope that divine intervention will help her next test score. She happens upon a strange shadowy woman casting a magical circle in the shrine, and clumsily interferes causing the spell to go haywire. The resultant magical discharge knocks her cold, and she awakens in the fedual era near a town in flames. To her disbelief, Hideyoshi is saved by two Sengoku-era war generals, Nobunaga Oda and Mitsuhide Akechi… except, for some reason, these famous historical figures have been transformed into busty women with magical powers.

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When you gaze long into an abyss, the abyss also gazes into you.

I’ve always said that Charles Dickens was a brilliant author and an atrocious writer. He’s responsible for some of the most iconic characters in the history of English literature, but his tendency to go into excruciating detail about unimportant things makes his stories nearly unreadable. If he hadn’t been paid in a way that encouraged this, he would be one of my favorite authors. Hanasaku Iroha is not padding its pockets by producing excessive material, but it is reminiscent of Dickens in all the right ways. It feels a lot like a piece of Victorian literature, which is not what I expected from the studio responsible for things like Angel Beats! and Canaan.

Just before spring break, Ohana is shipped off to her grandmother’s inn so her mother can run away from debt collectors with her boyfriend. Rather than taking her in as family, her grandmother puts her to work and makes it very clear that she will not be doing her any favors. Being accustomed to living with someone who is so impressively irresponsible, she has a bit of trouble adjusting to the strict and somewhat oppressive culture her grandmother enforces.

Please, sir, I want some more after the break.

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