Tag Archives: Anime

Anne of Green Gables – Episode 16

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Hello folks, and welcome back to Wrong Every Time. Today I’m eager to return to Anne of Green Gables, wherein our young heroine is still embroiled in a brave battle against public education and its attendant indignities. With both the peabrained Mr. Phillips and intolerable Gilbert Blythe arrayed against her, it is no wonder Anne simply cannot countenance the thought of returning to her public studies. Fortunately, Marilla has been largely accommodating of this moral crusade, clinging to the perhaps unwise hope that Anne will at some point get over herself.

Sadly for Marilla, Anne is nothing if not stubborn, and I doubt even the shame of having served their guests a dead mouse for tea will have convinced her that some time out of the house might be for the best. Still, between Diana’s pleading and Gilbert’s continued demonstrations that he’s not actually the tyrant she has made of him, a hope remains that she might return to the world of socialization and scholastic achievement. With tempers flared and stakes high, we return to the delightful Anne of Green Gables!

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The 100 Girlfriends Who Really, Really, Really, Really, REALLY Love You – Episode 6

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Hello folks, and welcome the heck back to Wrong Every Time. Today I figured we’d drop back in on the drama of 100 Girlfriends, and see how Rentaro’s faring with his rapidly expanding collection of girlfriends. Our last adventure saw the reticent Nano joining the crew, who in spite of her professed preference for “efficiency” was unable to deny our boy’s earnest, compassionate affection. And thus our polycule gained its latest addition, furnishing the shy Shizuka, tempestuous Karane, and eternally horny Hakari.

As with the addition of Shizuka, Nano’s arrival necessitates another cooldown adventure, as the expanded group work to discover their new collective social dynamic. This is not simply a way to space out the addition of supplementary girlfriends, nor a method of “dragging out” the story – these intermediate escapades actually embody the heart of 100 Girlfriends, which is fundamentally dedicated to ensuring partners don’t feel simply like prizes to be won and then forgotten about, but new arrivals to an active and collectively loving community. It is as important that Nano feels just as comfortable with Shizuka, Karane, and Hakari as she does with Rentaro, and I’m guessing this poolside nonsense will affirm exactly that. Let’s get to it!

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Wonder Egg Priority – Episode 12

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Hello folks, and welcome back to Wrong Every Time. Today we dive into the last chapter of a tangled and frequently devastating drama, with the final plus-sized episode of Wonder Egg Priority standing before us. There is much left to resolve, but after our triumphant preceding episode, I have more hope than ever that Ai will be able to reach and rescue her friends from whatever fate Plati, Frill, or the wonder egg arbiters have in store for them. Isolated within a demeaning, misogynistic culture that seems all but indifferent to their pain, Ai and the others briefly found community in each other – but in the wake of Frill’s rebellion against her cruel parents, their bonds have frayed and left each of them painfully alone.

Or at least, so they believed. Our last episode offered a quiet, insistent challenge to that feeling, that understandable instinct to crawl up within yourself and reject all external stimulus, determined to at least avoid the pain of judgment and disappointment. It is a cruel contradiction that in the depths of depression, it actually becomes all the more important to open ourselves up to potential pain, to seek the validation and unconditional support that might remind us of emotions beyond self-loathing, fatigue, and certainty that life will always be this way. For Ai, that realization came in the form of her own alternate self, the version of her who never found a friend with whom to share her feelings, and thus never wavered from the path towards self-annihilation.

To this new Ai, our own uncertain heroine seemed like a figure of confidence and wonder, a model inspiring her to genuine hope for her own future. And through those unclouded eyes, the Ai we’ve followed was able to recall the gentle, unerring support of her mother, who pledged to love her daughter no matter what path she chose. Spurred on by these unexpected allies, Ai vowed to believe in her own future, knowing that it is only through that irrational, desperate hope for tomorrow that she can find the strength to protect those she loves. With Ai’s own personal trials completed, let’s charge towards the future!

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Galaxy Express 999 – Episode 2

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Hello folks, and welcome back to Wrong Every Time. Today I am beyond excited to be embarking on the Galaxy Express, and once more exploring the sights of Leiji Matsumoto’s fantastical adventure. The first episode proved more action-packed than I would ever have predicted, with our young hero Tetsuro responding to the death of his mother through a fit of righteously murderous fury, destroying the contemptible Count Mecha and fleeing the police with the mysterious Maetel. Escaping the earth as fugitives, the two now rest aboard the Galaxy Express itself, ready to experience the wonders of the universe.

Alongside the obvious excitement of so much immediate dramatic commotion, it’s also clear that, in spite of its fantastical embellishments, Galaxy Express is deeply concerned with the inherent injustices of modern society. Both Megalopolis’ stratified pleasures and the allure of cyborg bodies serve as clear illustrations of capitalism’s cruelties; the hope of “work hard and you’ll succeed” was immediately proven a false idol through the death of Tetsuro’s mother, emphasizing how class is for most people an inescapable life sentence. Whether Galaxy Express continues elaborating on that theme or uses its rambling structure as a vehicle for new meditations, I’m eager to experience whatever wonders are up ahead. Let’s get to it!

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Yuri is My Job! – Episode 1

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Hello folks, and welcome back to Wrong Every Time. Today we’re embarking on a brand new adventure, as we check out the first episode of Yuri is My Job! I doubt I need to explain to any of my readers that “yuri” generally refers to lesbian romance in anime or manga. Yuri has a long and storied tradition in these fields, with the early 20th century Class S dramas that were often focused on all-girl schools informing the works of the Year 24 Group in the 1970s, including such enduring classics as Riyoko Ikeda’s Dear Brother. These stories influenced the next generations in turn, with ‘90s highlights like Maria Watches Over Us and Revolutionary Girl Utena paving the way for modern, somewhat more grounded stories like Bloom Into You or Adachi and Shimamura, as well as lighter romcoms like The Demon Girl Next Door.

Anime and manga have often been a haven for society’s outsiders, realizing the hopes and aspirations that would invite censure in a rigid, conservative culture. And even as we’ve begun to break the shackles publicly inhibiting expressions of homosexual love, yuri dramas have continued to evolve with the times, even hopping aboard the isekai boom through stories like I’m In Love With The Villainess. Yuri is My Job seems to fit neatly within the modern self-aware paradigm, with its genre-savvy title and heroine whose name is literally Hime, meaning “princess.” It apparently takes place at a cafe themed after those classic Class S dramas, making me curious as to both how it might comment on genre convention, and how it will express earnest character drama in its own right. Let’s find out!

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Ojamajo Doremi Sharp – Episode 12

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Hello folks, and welcome back to Wrong Every Time. Today I’d like to check back in on the trials of Doremi and the gang, as our crew continues their magical training and witch baby-raising under the dubious tutelage of Majo Rika. Of course, there’s plenty of room for detours along the way, along with self-imposed trials like messing with Hadzuki’s dance lessons. Ultimately, magic is really just a fantastical garnish for Doremi’s true substance: its thoughtful, wide-ranging exploration of the trials of youth, and the lessons we must internalize to mature happily and with confidence.

In Hadzuki’s case, that lesson was a familiar one, resonating with past trials like Onpu coming to understand her mother’s trauma, or Aiko accepting her father’s pursuit of new romance. Ojamajo Doremi’s empathy and insight stretches to its adults as well as its leads, emphasizing that we are all fallible works in progress, and in turn encouraging its heroes to walk forward with an understanding that there is no finish line to growing up. We’re all just doing the best we can, and in this production’s hands, the wonder of coming to love ourselves and our fellows feels as magical as any outright fantasy. Let’s see what shenanigans our team gets up to next!

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The Big O – Episode 21

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Hello folks, and welcome back to Wrong Every Time. Today I’m eager to return to The Big O, which we last left in a moment of total crisis, as both Roger and Dorothy found themselves under assault by agents of the mysterious “Union,” the only glimmer of civilization we’ve seen from outside the walls of Paradigm. Living in the ruins of the wider world, they have infiltrated Paradigm on all levels, from Roger’s would-be confidant Angel to Alex Rosewater’s associate Alan Gabriel. And now their agents have gathered, amassing in their chapel to pass judgment on this hedonistic dreamworld.

The unveiling of Paradigm’s true peculiarity has been the great work of Big O’s second half, as both Roger and the audience shift from taking his retro-futuristic city for granted to acknowledging it as a strange and unnatural outlier in a world otherwise fallen to ruin. Whatever Gordon Rosewater did, it appears his intent was to create a bubble world much like his tomato garden, a patch of enduring twentieth century excess that would resist the ruin otherwise enveloping the earth. To this end, he likely programmed Roger and others like him to act as this vessel’s antibodies, rooting out threats both internal and external in order to ensure the safety of the harvest. But what can Roger even do with this information? Knowing he is a pawn, would it be better to rebel against his programming and risk all of Paradigm, or remain complicit in Gordon’s project to protect his home? Neither answer seems quite right, which makes me all the more eager to see his own choice. Let’s get to it!

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Blue Reflection Ray – Episode 4

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Hello folks, and welcome back to Wrong Every Time. Today I thought we’d check back in on Blue Reflection Ray, and see how our heroes are faring in the wake of their successful rescue operation. Saving Miyako from the red reflectors ultimately required a brave step forward from Ruka, as she pushed past her anxieties to stand up for a person who was hurting, and thereby become the kind of person who can actually reach out to others. That in turn echoed the very reason she was fighting for Miyako: for no matter how painful our feelings, if we choose to learn from them rather than tuck them away, there is always hope we will do better next time.

It’s a fine dividing line between our blue and red reflectors, tethering that familiar conceit of “powerful emotions conjure powerful magic” to the further question of how precisely we choose to process those emotions. I’ll be interested in seeing how this metaphor develops, but in more immediate terms, I am also eager for the snarky, self-important Miyako to spend more time aggravating our initial pair. The irritants in these groups often turn out to be my favorite characters, and Miyako has so far proven to be an extremely charming brand of irritating. Let’s get to it!

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Call of the Night – Episode 5

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Hello folks, and welcome on back to Wrong Every Time. Today I’m feeling a certain yearning for the wild side, a clamoring for deviant adventure that can obviously only be sated with some Call of the Night. Granted, our featured nightwalkers aren’t exactly the most intimidating of creatures; in fact, they spent most of their last encounter debating the significance of a first kiss and also playing Street Fighter. Nonetheless, their dissatisfaction with daylit society and slow progress towards mutual trust have been an overall delight, a charming slow burn of romance and incidental escapades.

Through both its careful color design and the anxieties of its main cast, Call of the Night has been articulating a poignant sense of dislocation within modern society. This fundamental loneliness is balanced by the tentative intimacy shared by Kou, Nazuna, and newcomer Akira; none of them are quite sure where they belong, but all of them are desperate to not be alone. All that plus a heaping helping of sensually charged imagery makes Call of the Night a natural continuation of director Itamura’s Monogatari-forged expertise, and a show I’m always happy to revisit. Let’s not waste any more time then, and see what Nazuna and her human companions are up to!

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The Boy and the Heron

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Hello folks, and welcome back to Wrong Every Time. Today I’m thrilled to announce that we’ll be stomping our way through Hayao Miyazaki’s latest allegedly final feature, last year’s How Do You Live?, released abroad as The Boy and the Heron. Though its original title refers to a 1937 novel by Genzaburō Yoshino, it is apparently not a direct adaptation, and that’s frankly all I want to know about it. The film’s own promotion was limited to a single, ambiguous image of a man decked in a bird-like costume, implying both extraordinary confidence on Studio Ghibli’s part, and also an apparent desire for audiences to enter the film with no meaningful preconceptions.

That’s an easy enough request for me to fulfill; new Miyazaki films are rare events, and I count myself lucky that I’ve been able to admire this last act of his illustrious career in real time. From animating feats of fancy in Toei’s early films like Puss ‘n Boots and The Flying Phantom Ship, Miyazaki went on to spearhead some of the greatest TV productions of the ‘70s and ‘80s, before forming Studio Ghibli and becoming anime’s premier international ambassador. His remarkable catalog needs no introduction, and recent works like The Wind Rises demonstrate he’s still as passionate and determined to express a personal truth of artistry as ever. Let’s see what The Boy and the Heron has to offer!

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