Yuki Yuna is a Hero (Washio Sumi Chapter) – Episode 2

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Hello folks, and welcome back to Wrong Every Time. Today we’re continuing with the journey of Togo, or “Washii” to her new friends, as she and her companions fight bravely in defense of the Divine Tree. Having defeated their first Vertex with only moderate difficulty, the trio have since bonded over some delicious mall gelato, where Nogi assigned Togo her fateful nickname. Thus our long march off a short pier continues, our only assurance being that things will soon get much, much worse.

I’m already steeling myself for that blow, but in the meantime, I’m also quite enjoying this season’s distinct conception of the relationship between heroes and the Divine Tree. Rather than the oblivious Yuki and her friends, Togo’s group have been fully briefed on their responsibilities, and are seen as heroes by their fellow students. Given what’s coming down the line, I could imagine that their fates actually resulted in the dismantling of this hero preparatory academy system; after all, if their classmates can directly connect the deterioration of their friends’ bodies to their work as heroes, it seems far less likely they’d be similarly inclined to sacrifice themselves for a faceless god. Let’s see if that prediction bears fruit as we return to Washi Sumi Chapter!

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Dear Brother – Episode 9

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Hello folks, and welcome back to Wrong Every Time. Today the sun is shining and bells are tolling atop Seiren Academy, as we return once more to the gorgeous and obscenely entertaining Dear Brother. Our last episode saw this drama’s insanity ratcheted up to heretofore purely theoretical levels, as Nanako was invited to her dear friend Shinobu’s birthday party. Upon arriving, she realized Shinobu had rented out a hotel’s dining room entirely for herself, her mother, and her eternal bestie Nanako, and things only got more unnerving from there. With the night ending on Shinobu’s friendly declaration to “kill you and then myself” if Nanako ever left her, Nanako was left to flee Shinobu’s home in tears, traumatized anew by her terrifying classmate.

For all the absurdity of that gathering, given the course of Dear Brother’s drama so far, it actually felt perfectly in line with my expectations for a Shinobu birthday party. Possessive desperation has been the girl’s MO this entire journey, with her initial apparent confidence in Seiren’s quirks and traditions swiftly clattering to the ground, revealing itself a mere embellished frontispiece introducing a tomb of madness. And that’s really how it’s gone for most of Seiren’s standards, from the false dignity of the Sorority to the fragile public personas of characters like Saint-Juste and Miya-sama. I frankly don’t know how anyone makes it out of this school alive, and I wouldn’t want it any other way. Let’s get back to class!

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Fall 2024 – Week 7 in Review

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Hello folks, and welcome back to Wrong Every Time. We’re truly nearing the end of the year at this point, which means it’s getting to that time when I must actually examine the animated year in retrospect, and catch up on any key productions I might have missed. Uzumaki fell apart and Dandadan’s second episode still failed to grab me, but there’s still plenty else I need to check on, from the Dead Dead Demons adaptation to the latest installments in the Monogatari and Sound! Euphonium franchises. Between those, Delicious in Dungeon, and the year’s superb film crop (Naoko Yamada and Kiyotaka Oshiyama!), this is looking to be an altogether laudable year in anime, before we even get to backlog personal projects like Sailor Moon. I’ll be starting on all that shortly, but in the meantime, I have of course continued sampling whatever films either catch my fancy or rudely invade my screen via my roommate’s craft-neutral curiosity. Let’s break ‘em down!

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Spy x Family CODE: White

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Hello folks, and welcome back to Wrong Every Time. Today I’m happy to announce that we’re checking back in on the Forger family, as we explore their first full-length cinematic adventure. Spy x Family is pretty ideally positioned for these sorts of original tie-in films; the manga itself is mostly episodic and gag-based, balancing comic spy shenanigans, warm slice of life vignettes, and the occasional longer excursion into a major mission by Loid or Yor. Aside from the steady deepening of the family’s bonds, there’s no real continuity for such a film to exist outside of, and every reason to expect a focused, independent tale might capture the franchise at its peaks.

Outside of the immediate, obvious pleasures of seeing this family be their ridiculous selves, Spy x Family is lent further allure through that consistent lurking pitch of the Forgers working in concert, their diverse talents aligning to take down some grand, implacable obstacle. Tatsuya Endo wields this hook judiciously, maintaining its status as lure by ensuring we never take it for granted – in fact, so far we’ve only seen it realized twice, during the bomb scare and then again during the cruise. I’m guessing we’re about to witness our third pan-Forger venture, and with Code Geass scribe Ichiro Okouchi handling the script, I have every confidence it will be an energetic and charmingly stupid venture. Let’s get to it!

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Hugtto! Precure – Episode 46

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Hello folks, and welcome back to Wrong Every Time. Today’s one of those days where I’m feeling all the pressures of life bearing down on me, the kind of day where I could really use a break from the manifold anxieties of modern living. As such, I’m declaring this the ideal time to return to Hugtto! Precure, and find some peace in the charming adventures of Hana and her friends. Hugtto’s eminently likable characters, lush and warm art design, and consistent poignancy of perspective feel like a sanctuary for viewers of all ages, offering a clear expression of art’s ability to guide, comfort, and unite us.

When last we left off, the girls’ collaboration with friggin’ Santa Claus had culminated in a cozy Christmas party for all our companions, with Traum sharing a close moment with Lulu, and even Gelos escaping from the mercenary shadow of Criasu Corp. With Gelos now looking forward to a happier future, I imagine we’re diving straight into Hugtto’s endgame for these last four episodes. And though I’m quite sad to leave Hugtto behind, I’m also eager to see our heroes step towards their futures, guided by the confidence in tomorrow’s fortunes that this series has worked so hard to cultivate. Let’s return to Hugtto Precure!

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Eureka Seven – Episode 18

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Hello folks, and welcome back to Wrong Every Time. Today I am delighted to announce we are continuing Renton’s adventures with the Gekkostate team, as we return after far too long to the skies of Eureka Seven. The early ‘00s were one of the truly great eras in anime production, brimming with ambitious post-Evangelion originals, and elevated through brilliant creators like Eureka’s own Dai Sato. Eureka Seven embodies the passion and style of the era while also calling back towards prior eras, standing as one of the last examples of the once-common four-cour original, and demonstrating with its every episode how such a format can breathe life into a world and its characters.

When last we left off, Renton and the team had enlisted the services of the skyfisher Neal, who helped them secure the necessary supplies for repairing the Gekko. This adventure served a variety of dramatic purposes, offering chances for both Eureka and Renton to grow – Eureka through getting in touch with her feelings of jealousy and displacement regarding Renton’s growth, and Renton through coming to appreciate the variability of identity, how Neal (or, more pointedly, Holland) can seem like entirely different people depending on how and where they are framed. Additionally, it emphasized Renton’s emerging psychic link with both Eureka and the Coralian, as these creatures that have allegedly doomed the planet seemingly attempted to communicate with our hero.

With the Gekko now in fine fighting shape, and several episodes of heavy introspection behind us, I’m guessing the energy will be amping up as we return to the skies. But whatever’s ahead, I’m sure we’re in capable hands, and eager to see what adventures await. Let’s get to it!

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Fall 2024 – Week 6 in Review

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Hello folks, and welcome back to Wrong Every Time. By the time you’re reading this, America will have decided whether we’ve decided to fast-track or slow-roll our cultural and economic collapse, and major portions of the country may well be on fire. No one really wants to live through times of great upheaval, and our historical moment feels particularly tragic, suspended as we are between an unsustainable past and an ascendant right driven by cruelty, selfishness, and proud anti-intellectualism. While I can’t fix whatever’s gone so terribly wrong with this world, I can at least offer a momentary reprieve from its horrors, as we join together in kicking the tires and testing the brakes of a fresh collection of film features. From ruinously terrible Netflix releases to bubble-era anime spectacles, let’s take a brief break from our shared struggle, and talk about some interesting films.

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Light Through Glass: Rebels of the Neon God

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Rain splatters against the phone booth glass, drops falling like the embers of fireworks spiraling in the distance. Their trails are lit by an indistinct whirl of city lights, perhaps cars or fluorescent signs, made obscure and thus somehow entrancing, their uncertainty of form promising riches and wonders. The beads of water are like liquid jewels, a beautiful contrast against the soot-streaked interior. Two boys huddle inside, hungrily passing cigarettes between them, then inserting a screwdriver into the terminal. A waiting bag is filled with the phone’s bounty, loose coins a pale imitation of those glittering lights – but here in the city, all truly bright things are indistinct and out of reach.

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Skip and Loafer – Episode 11

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Hello folks, and welcome back to Wrong Every Time. Today I’d like to take a stroll back to the delightful drama of Skip and Loafer, as our two charmingly mismatched leads muddle their way through the school festival. Through the combined pressures of Mitsumi’s self-assigned responsibilities and Shima’s participation in the class play, the two are each essentially revisiting their childhood dreams, seeing how their old ambitions fit them, and where their new feelings might lead.

This process has prompted some good, productive friction for both of them, as Mitsumi reaches the limits of what she can do alone, and Shima grapples with his complex feelings regarding stage performance. But regardless of their personal journeys, what has been made abundantly clear is just how much they care for each other, and desire to keep each other from harm. Shima expresses this concern through his attempts to shield Mitsumi from disappointment, while Mitsumi pushes Shima to embrace uncertainty, knowing he is strong enough to pick himself back up. Let’s see how their dance continues as we return to Skip and Loafer!

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Uzumaki – Episode 2

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Hello folks, and welcome back to Wrong Every Time. Today I announce with some degree of trepidation that we are returning to Uzumaki, the recent adaptation of Junji Ito’s famed horror manga. Though the first episode of this adaptation was actually phenomenal, there were apparently some catastrophic production breakdowns in the course of this series’ oft-delayed genesis. As a result, this second episode no longer boasts direction by Hiroshi Nagahama, the horror maestro whose uncanny application of rotoscoped animation and fastidious attention to sound design detail made the first episode such a wonder.

The reasons for this breakdown are both obscure and predictable; I don’t have exact knowledge of who pulled the plug, but it seems obvious that someone on the American side of this production got cold feet regarding the time and labor required for Nagahama’s approach, and instead tossed the production to a director who is renowned for putting in slipshod, subpar work at presumably cheaper rates. This is of a piece with American producers’ general lack of respect for the work that goes into anime production, and with Adult Swim in particular’s conflation of nostalgia with artistic value. Shows like the FLCL sequels embody Henry Ford’s maxim of “if I asked the people what they wanted, they’d have said faster horses” – it is up to great artists to show people what they could never have imagined wanting, and a philosophy born of “I want to recreate the exact conditions of when I first saw Cowboy Bebop at 1 AM on Adult Swim” will never produce such new ideas.

Thus we journey onward, into the consequences of high-level producers demanding swift, affordable results from a process whose fruits they could never measure or understand. With the spiral closing in around Uzumaki itself, we return to the field!

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