Tokyo Godfathers (2003)

Writers: Satoshi Kon and Keiko Nabumoto
Director: Satoshi Kon
Studio: Madhouse

First watched: 07/12/2024


Review contains ***SPOILERS*** for Tokyo Godfathers

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
66776



This film is so so lovely and despite the bleak and depressing subject matter of the story, leaves you feeling warm, comforted and hopeful. It was also a nice surprise that it's a Christmas film and it can definitely be strong shout for an unconventional festive favourite. Strangely, however, I would say that despite how much I loved the film, I didn't actually like it. Although it really does fill you up with all these warm fuzzy feelings, it doesn't actually have the hard story substance to support it. It kinda gives you these emotional climaxes with a bit of back-filled story context and real-world relatability but all of these moments are practically completely divorced from the main story. Even the main story itself is relatively shallow, with opportunities to reflect and ponder profound questions but it's not all that well constructed. So ultimately, it's all icing no cake but I won't pretend I've never eaten spoonfulls of icing by itself.

The characters are probably the best example of this all-fluff-no-fibre phenomenon. The 3 main characters of the story are all so incredibly interesting and joyfully unpredictable. This creates a really great dynamic that drives a lot of the film and the enigma surrounding each character's history and circumstances gets you really invested as a viewer. However all of this complexity and backstory is never adequately explained nor resolved. We get a glimpse of each of their past lives either through flashbacks or interactions with someone from their past but ultimately it's a passing conversation that gives a bit of context to where they are but very little else. None of the characters have a desire nor motivation and from what I can tell, their lives don't seem to have any kind of new direction following the events of the story. Also none of them face any repercussions for their past actions. Gin abandoned his daughter entirely and after (in)conveniently bumping into her, gets invited to her wedding. Miyuki also stabbed her father, who again she coincidentally bumps into but then we get no resolution nor reconciliation for their falling out. Everything is vague and quite pointless. The final member of the trio is Hana, who is also very interesting, however has the least story significance. She seems to act as both the comic relief for the film as well as the organiser and moral compass. Again, we get some really interesting back story for her but its fleeting and inconsequential.

Now of course, the point of the movie didn't go completely over my head. These characters each highlighted a host important issues in modern societies, like homelessness, poverty, alcoholism, gambling addiction, depression, the experiences of transgender women (both the fetishisation and the transphobic mistreatment), bereavement, family and all sorts of other things. And especially on the inclusion of a transgender woman as a main character, with a rich and meaningful backstory, the film was really pioneering and important for the people whose story it told, especially back in 2003!. So of course, I appreciate that greatly about the film and give it its props. But as I seem to say in every review, I think that truly good films highlight issues and convey themes or messages as part of an overall strong plot.

So moving onto the plot then. It's definitely fun. It's an out and out mystery story from the very start, with the gang trying to find out who this abandoned baby's parents are and why they would abandon the poor thing. The insane and hilarious jumps from place to place as we go on the journey to answer these questions is really entertaining and always holds your attention. Each different scene is completely different from the last, which makes for visual interest just as much as story intrigue. Now I won't say that it's completely disjointed, because the main thread of the story holds up quite well. However there are just too many other elements that are so coincidental they just become silly; like bumping into mobsters that Gin's had run-ins with before, the gang being stood right outside a store that an ambulance crashes straight into or Hana and Miyuki literally walking past Sachiko as she's about to jump off a bridge. It all makes for a very unsatisfying story, especially since it sets up a mystery and clue hunt, so for everything to be so serendipitous feels very unfulfilling.

The storytelling is pretty strong. The film does a really great job of setting a tone and creating lots of different feelings. As you'd expect from Satoshi Kon, it also makes great use of the animation medium to exaggerate the expressions and actions on screen, as well as creating beautiful and imaginative imagery. I wouldn't say that the film does anything revolutionary with its framing or staging but overall it was definitely a positive.

Lastly then, the animation. As mentioned, there's a lot of great expression work throughout the film, however I did think it fell flat in some areas. First and foremost was the inconsistency of a lot of the drawings. Sometimes the facial features or even body propoprtions of the characters would just look completely different from shot to shot, to the extent that it did actually detract from the viewing experience a few times. For some reason it was really noticeable on Miyuki's face, which occasionally just seemed to be wrong, anatomically. Similarly, I don't think the animators or animation supervisor got the right balance of when to have fewer, simpler lines for long-distance shots and when to have detail for close-ups. Another area I found lacking but obviously undertand is just an industry standard was of course, the mouth-only speech animation. Won't hold that against them too much, though. Bigger picture, however, the animation is really good, really fluid interesting, underpinned by brilliant character and background art. So still a really well animated movie despite some flaws.

It sounds like I haven't got too much praise for Tokyo Godfathers but I do really think it's such a sweet and wonderful film. I can definitely see a lot of people watching this film today and absolutely loving it too! I just sadly can't give it an substantive score much higher than 'above average'.

Arcane (2021)

Creators: Christian Linke & Alex Yee (various writers)
Directors: Pascal Charrue, Arnaud Delord, Bar Maunoury
Finished first watch: 23/11/2024
Animation Studio: Fortiche

Review contains ***SPOILERS*** for Arcane

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
88999



It's tough, because I'm still feeling a lot of emotions from having just finished Arcane season 2, smashing out the last 3 episodes on the day of release as well. So I think this write-up might suffer from my immediate feelings getting in the way of objective assessment. Maybe I'll come back to this after a few months, maybe even a rewatch, and check myself. But for now, there are 2 things I would say about Arcane that I think are undeniable:
    1. It is simply one of the greatest series ever made (and a good candidate for the #1 spot)
    2. Despite this, there are still lots of ways it could have been improved.


Characters
Even above its stunning animation, I would say that the absolute strongest element of Arcane is its characters development, alongside the strength of the characters themselves. Every single member of this ensemble cast went on a journey throughout the series - they changed their attitudes, they fell under each other's influence and they significantly grew as a result of their on-screen experiences (including through some really thoughtfully used time-skips). And it was all driven my the massive, literally life-changing events that we saw them go through as part of the plot. Even side characters had such understandable and realistic responses ('realistic' more so meaning consistent and believable within the Arcane universe, than reflective of our real world); Caitlyn's dad, Salo, Sky(!!), for example, were all complete side characters yet still had really meaningful development throughout the show. And if main characters didn't have amazing development throughout the series, we'd get insight into their back stories which would still give us a really great sense of how they got to who they are in the story. The writers, who cannot be given enoough credit, then of course used this development to create more tense situations and force more decisions, which would lead to more of these seismic life events, building even more development and the cycle would continue.
    The incredible development also wasn't just within the characters' personalities but was also masterfully reflected in their character designs. I have to use a pretentious word like 'masterfully' because the designers genuinely did show a mastery in their craft with this. All the young versions of the main cast are brought into the present era so well, visually. Jinx stops looking like a sweet little kid and instead does look like a troubled teenager. Vi goes from a tough kid to someone who will beat the shit out of you. You even see Jayce's outfit get more and more formal and regal as his political capital increases. Then when you get to season 2, the events get truly foundation-shaking and again this is reflected brilliantly on the characters. Dishevelled Jayce, pit brawler Vi, demigod Viktor, fascist dictator Caitlin. All significantly shifted desigs to reflect the characters' mental state and motivations, all whilst still being so incredibly appealing! That's something that is consistent throughout - every design is just so incredibly distinct and intersting. Even characters who didn't change too much still get thoughtful redesigns; thinking Silco (in the flashbacks and in the Alternate Reality) and Ambessa, who (literally) shows more of herself and gets more battle ready as season 2 progresses.
    The apex of this incredible character design flexibility shows up in the phenomenal AU episode in season 2. Seeing how different Ekko and Powder would look at the same age if they hadn't been through the same events wasn't just creative and very cool to see but also really underscored the fact that they are who they are because of what they've experienced. Honestly, Arcane might have the best, clearest and most tangible character development I've ever seen. No 'subtle', half-baked nonsense - the stuff really happens and it really shows.


The characters themselves are, of course, also great. The cast is varied and deep. They all have understandable motivations and opinions and really interesting flaws and limitations. For example, it's easy to love Vander but still see that he's complicit in the status quo and, to an extent, a coward for accepting it. Silco is cruel and mistreats his own people but still has moments where it seems like he has genuine affection for Jinx, which is endearing. Of course this is all rooted in League of Legends lore but it made for characters who were great ingredients to an excellent story.

Oh and also, even the weapon designs develop over time! Vi gets the v1 rusty mitts, then the hex tech prototypes, then the final enforcer version. Jayce comes back from the Void with a completely overgrown wild rune Hammer. Jinx of course improves her proficiency and makes bombs and tools that are less cute and far more intimidating over time. More attention to detail that makes these characters and their journeys so great.

Plot
The story writing is incredible. Not only does it have the previously mentioned events, impacts and character decisions linked but it also has the different strands of the story interact with and influence each other in really clever ways, as well as managing a really intriguing fantasy/magical component and tying that in with everything else. The story also does reflect very relatable and topical issues from the real world in very entertaining and appealing ways but never relies on the viewers' perceptions of these issues. They always clearly show how each character feels about them and thoroughly explains why. The plot is also constantly evolving and shifting too. So the twists and turns the story takes keep it interesting and keep a great level of tension throughout. And nothing ever feels like a cheap twist, either. I would honestly say that the plot and writing for season 1 are the best I've ever seen, although I'd sadly have to say that season 2's isn't quite as good. The two main reasons being: 1.) the lack of explanation and resolution of quite a few of the storylines, and 2.) the pacing. The pacing for season 1 was perfect but there were quite a few events in season 2 that just needed a bit more time to breathe or maybe a bit more of a build-up. For example, Jinx accepting that she was being heralded as a rebel hero or Caitlin implementing martial law in the undercity. Both were quite abrupt and didn't necessarily follow on directly from where the storylines had last left off. As for the storylines that weren't actually fleshed out enough, here's a mini list:
    -Mel being magical. She gets a whole new backstory, as well as mage powers and accepts and masters both of them within an episode, to the point that she's then war ready. Definitely needed more explanation and learning (for her) and a lot more exploration (for us). I'd also say I liked the way Mel influenced the story as a clever councillor early on, so the magic felt unnecessary.
    -Linked to that, the Black Rose storyline was far too vague throughout. We're given thee bare bones but we then got no real explanation for why they actually wanted to kill/get Ambessa. Then at the end, Mel says "I see through you" or whatever, with zero explanation of what she actually means. Did she save her mother from them? What did she see through them about? Were they dishonest about something? Why did it matter? They were also just too abstract as characters as well. We only ever see glimpses of 2 of them on screen (apparently not even in their true forms), yet they're driving force behind Ambessa's entire story. It would have improved her character significantly if we'd been given the full context.
    -Viktor's actual plan and motivations**. We spend the vast majority of the show hearing Viktor talk about helping people, including becoming a magical healer. To the have him suddenly flip to wanting to evolve humanity(?), effectively make everyone braindead and also be willing to fight a bloody war to achieve it is very jarring. But also it just didn't make sense mechanically. What was he actually doing, how did the wild rune magic work? What even is Jayce's solution?
    -Jinx's madness practically disappears. She also becomes very altruistic out of nowhere (if anything she should be more fucked after losing Isha). Even before that, we end Season 1 with Jinx being at her most lost, unable to turn to Silco or Vi but then Season 2 kicks off with her pretty much finding immediate stability and safety. Side note, but I also remember being incredibly disappointed with Jinx's first appearance in season 2, because it was very anticlimactic. Whereas her first appearance as Jinx in season 1 is so fucking good. So impactful.
    -Singed. What was his actual plan and why did it rely on Viktor? And if it did rely on Viktor, why did it still kinda work out even though Jayce stopped him? Also, how did Singed slip out completely free after his role in the war? And did he actually reanimate his daughter? He was another one who was basically the root cause of a lot of stuff but just didn't get the exposition needed on screen.

I would also just say that in season 2, the show kinda lost itself. It got too swept up in the mystique and mythos and lost sight of the storylines that had been so engaging up to that point - the love and hate between the 2 sisters and Zaun's struggle against Piltover. Completely brushing those 2 stories to the side to fight for the existence of humanity didn't create a very satisfying final act for me. In general, I'd say that massive, existential stakes are generally a lot less compelling than small-scale, very human stakes. There were also just some other choices they made with the show that I didn't personally like, although they weren't necessarily bad or wrong:
    -The shift away from very tangible story and magic mechanics (hex tech, shimmer) towards unquantifiable and unknowable magic (the wild runes, Viktor)
    -Bringing back Vander didn't really work for me either. It led to some really beutiful moments (one of which made me actually cry) but it felt strange to (literally and metaphorically) revive his dead corpse as a way of bringing the sisters back together.**
    -Again, definitely just a style preference but it's become very predictable and honestly a bit stale at this point for fantasy series to end in a big war. So that was a bit disappointing too. Same again for multi-versing; it's a bit of a trend recently but fair enough, they made a genuinely beautiful episode out of it.
 
On storylines, I also want to give a specific mention to Caitlin and Vi's romance storyline. I usually find romance stories in entertainment to be a bit boring and forced. A good example of this is AU Ekko and Powder kissing. I think that episode would have had more emotional impact as a reflection of Ekko grieving a lifelong friendship - making it romantic sort of undercut that because it seemed to be more of a fantasy than the loss of the deep bond they already had. However, Caitlin and Vi on the other hand, is possibly the first on screen romance that I have absolutely loved, because it was constructed and executed so well! You see these two characters, who are both in crisis in their own ways, have their worlds and perceptions changed by each other. They each represent the other's enemy but over time, they warm up to each other and that opens up the possibilities of humanising the other side. Their romance also completely mirrors the overarching storyline of Piltover vs. Zaun, so it's thematic and story-relevant. And even if it's not healthy, they find comfort in each other during times when they're grieving or feeling lost. Importantly though, they clearly find really admirable traits within each other during their excursion in the Lanes (Caitlin learns that Vi is loving and principled rather than just a criminal and Vi learns that Caitlin is honorable and tough rather than just pampered and pretentious). This also means that the will-they-won't-they moments even feel real, because Jinx's actions start to erode away at those very same traits - they find themselves in crisis again and retreat back into their old habits but they can still see those admirable qualities within each other throughout it all. I absolutely loved the dialogue before before their big scene in season 2, when Vi says "I choose wrong every time". Because it was so clear that yeah, duh! That's what Caitlin loves about you! You choose to believe that everyone can change and you want to show them compassion, even when you say you've given up on them. And of course, it's great to see a romance between two women that doesn't end tragically. Bechdel test of course passed with... flying colours.

**Last point on plot, I recognise that a lot of what I know as 'Arcane' is built off existing LoL lore. So the two starred points above, were always in the plan, since they were already established elements of those characters' backstories. The Viktor and Vander from season 1 were already destined to become the Viktor and Warwick from LoL (which I now know, following a week or so of watching youtube videos/shorts about the lore). Same with things like the Black Rose, which have their own deep mythology already established, apparently. That doesn't mean Arcane's creators get a pass to not develop or explain these things properly, in fact it's maybe the opposite. I think it highlights the fact they really needed more time to get from the end of Season 1 to where they wanted to end up. What I wll give them credit for, however, is how well they established these new versions of these characters, so that their already published histories felt like they were thrust upon them. I'd also include in that Vi becoming an enforcer - they gave Arcane Vi such a strong identity that even though she has Police Officer skins in game, it still felt strange seeing her become a cop. Side note though, being an underprivileged kid and having served jail time, fucking a cop inside a jail cell is absolutely insane behaviour. Great scene, just insane for a very ACAB character.


Storytelling
This is another thing that the series does exceptionally well! Of course, 'show, don't tell' isn't an absolute law of film and TV but the way Arcane tells its story visually without having to spell things out via dialogue is amazing. I'd even extend the phrase to 'show beyond what you need to tell', which the show does an incredible job of doing. One example of this that I loved was NewJinx heading back to the arcade in Season 1. It's a place of comfort and somewhere that will always be linked to Jinx's past - so we subconsciously get a sense of where she is mentally from that alone. But when we see her actually turn the boxing machine on, not only do we get a great action sequence with really strong, visually impactful poses, we get to learn that Jinx, unlike Powder, absolutely can fight. She's physically strong, she's quick and she's willing to get involved in combat. So that shows us how her character has developed during the time skip. But then the scene finishes with her completing the round on the machine and the scoreboard lighting up to show her high score - 2nd highest. She enters the 3 letters for her name slot but of course, the no. 1 spot, not illuminated, is taken up by none other than Vi. That confirms to us that although Jinx is now clearly an adept fighter, Vi would still beat her ass if it came to it. But beyond that, I think it showed that Vi was still dominating her thoughts and that she was still chasing after her. Especially since the entire sequence has cuts and flases of her memories of Vi. The whole passage also happens over the span of about 2 minutes. So we get such rich, engaging and visually pleasing story telling without wasting valuable screentime. That's pretty much consistent with the rest of the show.

In general, I'd say that the storytelling always keeps things visually interesting, so that even straightforward conversations are coupled with visual symbolism or at least atmospheric/quiet world building. They never leave you just looking at the same angle for long enough for it to become stagnant. The staging/framing is also excellent, especially when they draw parralells. For example, Jinx injecting Silco's eye comes across as such a domineering power play by Silco at first, as we see Jinx being incredibly delicate and precious in how she approaches him. But when she finds out Vi is still alive, this is completely flipped, so that it becomes an act of aggression and assertion from Jinx, to the point that it feels like Silco's life is in her hands as she holds the needle. Especially across season 1, it just felt like they kept finding great ways to do transitions and montages and it was always cool and visually pleasing. It may be a bit harsh to say but there were times in Season 2, however, where they leaned on the great storytelling a bit too much to try and bridge gapw left by the absence of some important story events. It was a bit frustrating, because they effectively found the most interesting way to cover up a lack of substance with literal style, where they actually used different animation and art styles to tell the story. Can't knock the storytelling for that, I guess it too was just complicit in the story falling short.

Something else I think the directing did amazingly well was having amazing, powerful, metaphorical and cinematic shots, which were story-relevant. One of the best ones, in my opinion, was Silco appearing in the lanes and holding out the vials of shimmer to the shimmer addicts, after they sold out Vi. It's a really cool shot, that frames Silco as being like a god to these people but really, it's more the case that they're at their lowest point. I would compare it to a similar shot in Batman v Superman, when Superman gets adoration from a bunch of people wearing Mexican Sugar Skulls. I'd say both are equally cool shots but in the Superman shot, these characters are not story relevant (they don't appear in any way outside of that shot and are not named or otherwise interacted with), whereas for Silco, this shot is used to give the viewer and Caitlyn/Vi a sense of despair, as they realise these people they had trusted (who are afflicted by Shimmer, one of the central plot points) are actually loyal to Silco (really their addiction), which makes their situation much more desperate. There were so many more shots like that, especially in season 1.

Also, incredible music, fantastic voice acting (and a stacked voice cast!) and an amazing, very well thought out world also support that brilliant storytelling.



Animation
Somehow, I'm speaking about animation last but I think it's all already been said by every other Arcane fan. The animation is absolutely stunning. I genuinely don't think there is a single project, big or small screen, that has such fluid and intentional movement of its character models. Even subtle movements and secondary actions, like eye movement and small smirks were done with great attention and care and added to that phenomenal storytelling. Of course, in addition to this we saw great shots, really strong poses (which were held for just long enough at the right times) and some really brilliant fight scenes. To be honest, after watching quite a few Netflix animated series/movies, I was astonished at the animation quality in Arcane. Of course, that's because it isn't quite a 'Netflix' series in the way that Nimona or The Sea Beast are Netflix movies, but Arcane blows everything else completely out of the water.

Arcane distinguishes itself stylistically through its painted textures, that all look incredible. There's no substitute or software solution for painting all of your props, models and backgrounds and these guys did it beautifully, to create a style that is distinct and clearly video-game-like, whilst never being too abstracted from reality to keep your sense of immersion. They also incorporated lots of different animation styles throughout the run. Most prominently was all of the hand-drawn effects animation. Somehow, this never looked out of place against the 3D modelled world and it was all done beautifully. As far as I could tell, it only ever needed to be straight-ahead animated, so I think the artists who got to work on it really were allowed a lot of freedom. So lots of details did end up looking really gorgeous, like explosions, smoke or even just a little bit of steam from a hot cup of tea. Really pretty. Then of course, there are the full sequences where they change styles entirely. Like Vander's memories being rendered in watercolour, which really added to the feeling of nostalgia and sadness. Or when they rendered Ekko's fight with Jinx on the bridge in a charcoal/stencil style - was clearly still modelled but again, the consideration and attention to render it in a different style amplified the impact of the sequence.
   
The animation is actually probably the only thing that doesn't dip in quality from season 1 to season 2 - in fact, it might even improve in the second half! When you get to these abstract and ethereal passages with Viktor, the animation (and overall concept) is really beautiful. I don't know if Sky in season 2 is her actual spirit or just an apparition summoned by Viktor's guilt (which is actually the kind of thing I don't mind being left to interpretation, because it's completely inconsequential to the story) but the way that the two of them look in this spectral dimension really takes you there as a viewer. They aso really stepped up the combat sequences for the war in the final episode, which was a lot of fun.


Conclusion
The more time I spend thinking about Arcane, the more I realise how well put together it was. It's definitely the kind of thing that people can write analysis and interpretations of for years and years into the future, and I personally can't wait to follow along with all of it. I know there's a whole bunch of symbolism and foreshadowing I missed! Sadly though, I think I'll always remember it as something that was astonishing and wonderful but didn't realise its full potential.

However, to finish off, I have to give massive props to the executives from Riot who decided to create this series and their overall approach and philosophy. Great story and great animation are not easy nor cheap to create. However, they made a clear decision that if they were going to create this show to draw new players to their game, they were going to do it in a way that honours the existing lore and creates a fantastic series that could stand and be brilliant on its own. I especially loved this quote from Marc Merrill, Chief Product Officer at Riot, in response to a question about Arcane's reported $250million budget:
"We're more than comfortable with the spend it took to deliver a show that was worthy of our players's time." 
That alone is enough to make this show great. Right now, most of what we see on our screens, especially in animation, is held back by companies and executives choosing lower costs over a perfect end product. To have someone give a piece of art this kind of backing and commitment is rare and commendable. So alongside anything else I might say, I will always consider Arcane legendary for the fact it was made for its fans and no one else.




Random Thoughts:
-Ambessa's mask design was so fucking cool. I'm sure they designed it to look like the face of a leopard, which is even cooler (although potentially kinda real Earth-centered).
-It should be noted that it's a huge win for the series to feature a prominent lesbian/sapphic/wlw couple between two of its major main characters (and do it so well!). This is something that absolutely should be celebrated, because it isn't the norm yet.
-Similarly, this is a series that included several incredibly well-developed and well written women characters, none of whom were tokenistic in any way. So again, the show's creators should get a lot of credit for that.
-Ambessa absolutely loves a Twink and that was both hilarious and relatable (and tbh good strorytelling still).
-I could have watched Ambessa kicking the shit out of Caitlyn and Mel all day, that was an amazing fight scene (I think I love Ambessa)
-It was very cool how they included character models for the band Imagine Dragons in the actuall meat of the show. Great service to them as artists.
-The more and more I find out about LoL, the more I appreciate how well they honoured the game through the series. E.g. Ekko specifically stating that his time skip tool could go back exactly 4 seconds is actually a nod to one of his in-game abilities
-Jayce and Vi teaming up to go and bust up the shimmer plant was a reall fucking cool scene.
-Shout out to FlowChartKen for loads of great LoL lore videos, which I've been watching since finishing the series. They've really helped give me a deeper appreciation of a lot of stuff. Also shout out to this other random video for catching the Vander-Warwick thing on the spot after season 1.
-Similar to the point about Vander being a coward, I really liked how Ekko ends up putting Heimerdinger to shame in the AU by being so adamant on getting back to their universe. Heimerdinger is so content to just forget his failures and hardships in the main universe and enjoy the paradise here but Ekko knows that he can't do that when so many people are relying on him back home. Similarly, it creates a parallel with Jayce's AU adventure, where Jayce had to fight through a nightmare to get back but Ekko had to make the more difficult choice to leave this perfect paradise and go back to hell. He's a legend for that.

Castlevania (2017)

Creator & Writer: Warren Ellis
Directors: Sam Deats, Spencer Wan, Adam Deats, Amanda Sitareh Bautista
Studio: Mua Film, Tiger Animation

Finished first watch: 14/11/2024


Review contains ***SPOILERS*** for Castlevania

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
43453


Easily one of the weakest series I have ever watched. I hate to say that about something so many artists worked on over several years but it's honestly inescapable how poor this series is in almost every department. I'm genuinely confused how it got 4 seasons, especially considering how boring that 3rd season was.

I'll start with the one shining positive from the series, which is its artwork. Every drawing, painting, background and setting in this series is really beautiful. It has a clearly anime-influenced style that looks great and they use it to great effect. I'd say it has a strong visual identity. It even has a clear direction in terms of colour, with everything obviously being shifted towards dark and broody. The designs are also brilliant. Trevor, Alucard, Dracula, the forgemasters, the vampire sisters, all legitly fantastic and appealing designs. Big big shout out to Striga's day armour as well, fucking sick design. Someone clearly loved Berserk on that team. And of course, the castles, laboratories and libraries all felt very grand and wondrous. They did a good job of creating an aesthetic and a feeling of the series's world and it all fit together with the overall dark and sinister subject matter.

That leads onto the most disappointing aspect of the series, which is its animation. It's so upsetting to see such beautiful drawings move so lifelessly, if they move at all. The vast majority of screentime is taken up by super limited animation; maybe just a chin moving up and down as a character speaks, or drawings literally just being slid across the screen. I get that studios and producers want to save costs as much as they can but it made the show feel completely lifeless most of the time. And how much they did it was absolutley eggregious. There was an episode where Isaac talked to a night creature for about 10 minutes straight, with almost no animation to it. And the conversation they had was not relevant in any way to the story (which I'll come back to). So it didn't come across as being savvy and saving costs for the bigger moments; it honestly felt like they were trying to pull whole episodes out of their arses with as little substance as they could get away with. Another thing that I personally dislike and that makes the character acting/posing feel super uncanny is characters' heads being completely side on. Just makes for really flat animation and breaks any sense of immersion.
    There were, of course, scenes with significantly better animation quality. But they didn't do anywhere near enough - in my opinion - to make up for the low effort marathons across the rest of the show. That's partly because they were really few and far between but also because they weren't actually that good in themselves. All of the fights generally have lots of quick cuts, rarely show multiple characters on screen at the same time and never show complete, fluid action - it's always the wind up from one angle, then a flip to show the outcome from another. So so so much implied action as well. They had lots of detailed guts and gore (again, great drawings) but it would always be shown after something had already dropped dead. You'd never see the actual slashing and the gore as a clear single shot - and any slashing you did get was very Fist of the North Star. It's really disappointing to watch, because the fights were actually really well choreographed. The characters had cool and unique fighting styles and would usually pull off impressive and unorthodox manoeuvres; it was just a shame that we only got to see it in bits and pieces. Also in the later seasons, you could sadly see the quality of the drawings drop off noticeably in quite a few of these action sequences, which honestly felt like an insult being added to an already pretty bad injury. The later seasons are in fact a consistent disappointment across the board too.

Just watch this clip and look at how stiff and robotic all the animation is. If it's animated at all. This is very standard for the show and what the vast majority of screentime looks like. Watching it without sound really helps illustrate how lifeless it is. Listening with sound on highlights how mismatched the voice acting and character acting are.
Although you can still see how nice the character designs and drawings are - look at Saint Germain's jewellery, for example!




This clip, I think, gives a very fair representation of what the approach to fight scenes is like throughout. It's very cool, dnyamic, stylised and well choreographed. It might be entertaining to a lot of people. But there are so few drawings over such a long clip. And the two characters never really interact. Everything is implicit, which is made to look good but to me, just glosses over a lack of substance. Draw the fight!



Moving onto the plot: there basically isn't one. The first two seasons at least have an overarching story of Dracula wanting to kill all the humans and Trevor, Sypha and Alucard (TSA?) trying to stop him. That was incredibly loose, because there was a whole heap of inconsequential nothing that happened in between this. Dracula's war council being summoned and then having in-fighting all had close to no impact on the story at all. Even Carmilla's successful betrayal is kinda just... nothing. Like okay, she becomes the queen or whatever and usurps Dracula but that all just has so little significance. We don't care about Dracula very much (as we've had very little insight into who he is outside of the backstory given in episode 1) and Carmilla is a genuine side character, even after this whole thing. Then you have whatever TSA was up to; finding the library, getting into random night creature fights etc. All very cool and flashy but did very little for the plot. You could remove most of it and still have the same storyline play out unimpeded. Then the last two seasons were just totally unnecesary. The main reason for these characters to exist (in fact literally the only reason Alucard exists) was gone. They then set up these random, regional conflicts that meant absolutely nothing to anyone. Definitely dragged the show out for 2 Seasons 2 Long and in my opinion, ruined any chance Castlevania had at being remembered as decent.
    Supposedly significant scenes having very little impact was basically the theme for entire 4-season run, to be honest. For example:
The final fight vs. Dracula at the end of season 2. Firstly, it comes after basically a full season of people just talking and posturing for a war that might happen; there's no real fuel given to the fight. Add to that the fact that we also never ever saw Dracula engage in combat (other than a flashback in which he kills a bunch of villagers), so we had no sense of how powerful he actually was or what sort of abilities he had. Defeating him didn't feel significant in any way or like any kind of challenge.
You can add to that the fact that Alucard has zero on-screen interactions with Dracula - not even in flashbacks. So the first interaction you see them have is when Alucard arrives to kill him. That makes Alucard's crying scene another one with absolutely no emotional weight.
Why was Death the final enemy? Of course we all understand the concept of death as an entity but he has no establishment whatsoever in the story. Literally appears and disappears in the penultimate episode. We have no attachment to him whatsoever and again, no idea how to kill him nor whether it's a big achievement to do so. Trevor says some shit about some ancient weapon but these things are really not plot relevant and spoken about completely off-hand.
It's extra disappointing because the idea of Death being a vampire with an insatiable thirst for human life is a great concept. Even Death's plan to play Saint Germain and bring back Dracula to feed his hunger is great. Was just executed in a really underwhelming way. Plus I honestly don't think I could have been any less invested in Death's analogue, Varney, as a character. Also why bother making it seem like Trevor died for like... 19 minutes? It's a cheap tactic and it achieved very little.
Isaac literally spends about a season doing fuck all in the middle of nowere - twice. Why does he have such a massive fight with a random unnamed necromancer and why does this need a full season of prep?? And coming back to the earlier point of Isaac's conversation with his night creature: the writers raised some interesting and potentially significant questions in that episode. They suggested that the night creatures aren't just mindless killing machines and that they can experience things beyond their forgemaster's orders. They might even have memories of the lives they lived before being resurrected. Then after that episode, the writers just completely ignored that fact for the rest of the show and the night creatures went back to being silent, brainless pawns. That, to me, is the hallmark of a terribly written and generally directionless show. They would have improved the quality of the end product by not raising these profound questions, yet did it and then ignored them. Whatever their reasoning was, it made for an inredibly disengaging viewing experience.
Both Carmilla and Dracula are considered villains because of completely hypothetical tyranny. Dracula does hit Targoviste hard once but that doesn't really give sufficient gravity of his scorched earth campaign, for me. And Carmilla's plan to turn humans into cattle is actually never actioned nor even depicted on screen. So again, we don't feel any real opposition or hatred towards her.
Isaac suddenly deciding to kill Carmilla comes out of nowhere. Yes, she killed Dracula but he spends 2 seasons seemingly pretty unbothered about that, then suddenly switches. Decides he wasnts to kill Hector but then equally abruptly decides he doesn't.
Similarly, Striga and Morana just decide they don't like Carmilla's plan, even though they were very enthusiastically planning it the season before. There was no turning point, no moment of crossing the line. They just decided to switch up. Then didn't even go to the caslte to see what happened after watching it blow up. Insanely bad writing.

There are probably more examples but I think the point has been made. In general, the show did a bad job of actually having a coherent story that made the events on screen have real significance. They basically relied on the viewers' own sense of morality. In fact the entire show hinges on (what I consider) the most boring and counterintuitively low stakes motivation in fictional stories: the fate of all the people in the world (with whom we have no relationship through the events on screen - if anything we'd be justified in thinking what they did to Dracula's wife was worthy of punishment). To finish it all off, there was of course the cowardly meta self-admission in the final scene, when Lisa turned to Dracula and said "none of this makes any sense". That was a big slap in the face. It doesn't make the show any more enjoyable and just confirms that you knew your story was some bullshit but you put it out anyway. CC: Tenet and Evangelion.

Moving on: storytelling. I've said this about so many shows now but Castlevania had very little storytelling to do, because there was so little story. You can't use any clever plot devices if there isn't anything clever in the plot. You can't use a visual metaphor to represent fuck all happening. Equally bad was the pacing of the show. There so many long stretches of nothing happening, then big ticket events would happen upon you so abruptly. All that talking didn't even build any tension nor expectation. Again, this was made even worse with later seasons. You're just spending ages watching characters have boring conversations about absolutely nothing, then suddenly all killing each other. You could maybe consider this standard, does-a-job kinda storytelling but the show then draggs down its own score with its constant need to tell rather than show. It made the the viewing experience mind-numbing for me. Two quick examples off the dome are the realisation that Zamfir had gone crazy and Greta saying that she was starting to like Alucard. Like please trust that your viewers can connect dots in a straight line based on what you have shown them on screen. In fact, rely on that to build up to your big flourishes significantly better!
    I also have to mention one of the sequences in season 4, when Alucard and the villagers are fighting off night creatures in a forest. That was genuinely terrible TV. It kept cutting back and forth between the fights and dialogue and it was so unclear whether the journey was progressing or not. I felt like I was having an aneurism watching it. I honestly expect the explanation for it to be that someone put the shots together in the wrong order in the final edit.
    Also not sure if this is the proper place to mention this but the script for the show is seriously bad. Like really, truly terrible. None of the lines come across as clever nor even thematic. They also just throw in random swear words; I'm guessing that's to make it clear it's aimed at adults but it's so forced and awkward. It honestly sounds like it was written by a 14-year-old who's just been told they're allowed to swear but only during drama lessons. Not natural whatsoever and just adds to the overall very stiff and honestly quite cringey dialogue. I can't think of anything that could have undermined Saint Germain's character story any more than "I get to have sex again". Without a doubt one of the worst lines I have ever watched.
    Visual directing might just get a pass as okay. Some cool poses, cool shots, as I said good choreography of the fights at least. Consistent visual style and good, clear framing. I just have to call it visual directing, because there wasn't any real storytelling to mention.

I think I've said enough in the above to cover my thoughts on Castlevania's characters. Mostly very bland, especially Trevor and Sypha. Nothing remotely interesting about either of them. Trevor is the irresponsible, rash boy and Sypha is the organised, brilliant girl. We've seen it 100 times. Not to mention their romance has no substance to it whatsoever. They just suddenly become in love. Alucard probably has the most significant journey, as he goes through loneliness and lack of purpose once Dracula dies and the TSA team splits up. But that didn't really do anything. The rest of the cast is woefully dull. Honestly, there isn't a single good, well-written and interesting character in the entire thing. Maybe Lenore but that would be me being incredibly generous.

I'll admit, I came into watching Castlevania with some high expectations, given how liked it is and how many clips seem to pop up across the internet. I won't hold the resulting disappointment against the show but even then, it's undeniable how bad the series is, at least in my opinion. I also note that it seems to have opened the doorway for a bunch of similar animated Netflix series (e.g. Blood of Zeus, Tomb Raider). I'm glad to see more animated series and movies, of course, but I honestly hate that this incredibly stiff style of limited animation is becoming so common. Again, won't hold that against Castlevania - I'm already scoring it low enough - but just worth mentioning as not my favourite trend across the industry.
I'm sincerely sorry to have written this review and can only hope that if any Castlevania artists ever read it, they undersand that it's written honestly and with respect for the ways they have to work on animation these days with tighter and tighter budgets and deadlines. But I'll say it outright, I did not enjoy the series and I blame the executives responsible for it.

Some more random thoughts:
-The Isaac vs. Carmilla fight did feel really cool. Even though Hector's secret passageway was some bs (and not even necessary), the staging and overall execution made it feel pretty epic.
-I laughed my ass off when Alucard got his dick sucked so good he started crying. Felt that shit, especially since he was living every bisexual weeb's dream of getting with two kinky japanese siblings at the same time. I know the animators put their heart into that scene.
-Bloody Tears during the Dracula fight was really cool. Wish they'd built up to it more by maybe having motifs throughout the music across the rest of the series.
-Broader point, I'm sure there were lots of little easter eggs in the series for fans of the game and maybe even the Metroidvania genre. That probably contributed to its success and I'll admit I'm an ignorant neutral in that regard.

Cowboy Bebop: The Movie (2001)

Direcor: Shinchirō Watanabe
Writer: Keiko Nobumoto
Studios: Bones, Bandai Visual, Sunrise (Bandai)
Watched on: 01/09/2024

Review contains ***SPOILERS*** for Cowboy Bebop: The Movie (aka Cowboy Bebop: Knockin' on Heaven's Door)

Ratings:
OVERALL
NB: These are not weighted equally (if at all)
PlotStorytellingAnimationCharacters
87896


 
This film isn't just a classic because it's iconic or significant - it's an an absolute scorcher of a film. I finally got round to watching it and can't describe it as anything less than fantastic. Of course, the film (and Cowboy Bebop overall) does not need mine or anyone else's seal of approval but I'm at least glad to part of the club.

Obviously, we have to start with animation, and it is incredible. It's got all the brilliant quality and style of the main series, with maybe about 10% extra added on top*. Everything that moves does so convincingly as a solid object with believable volume and mass; that includes the characters, the big and small spacecraft, the guns, the props, even quite a few elements of the backgrounds. As the main series did, the film really shines during the fight scenes. They're so much fun and both well choreographed and well directed - we always get a perfect shot to emphasise the dynamicism or the impact of every blow. Practically flawless other than having limited animation for practically all of its speech. I can't knock it for that, really, it's sticking to its roots. I'd give it a 9 for animation, noting that the only film I know that has better animation is Akira (which I also rated as a 9 but could easily change to a 10 tbh).

The plot was actually very good, in my opinion. Far better than the overarching storyline of the series, or any of the individual episode stories. The main aim of the villain isn't quite clear but he's clearly mad enough to want to infect a bunch of people for no reason. Everything else is great, from how the conspiracy is uncovered, how we get to piece it together bit-by-bit and even the mechanics of the story are pretty much airtight. It also did a great job of leading us into each fight or interesting sequence. So no complaints (and I'd also add that the plot for James Bond 'No Time to Die' is incredibly similar).

Touched on it a bit in the animation section but the storytelling is great too. All the shots are framed really well for interesting and clear scenes. This is especially true for scenes where there isn't a lot happening - we'd often have a bird's eye view of the characters, then a shot of the background, then a focus in on a small detail etc. Always kept it visually interesting and showed off the great work of the artists and animators (drawing large crowds of people moving across the horizon line in dramatic perspectives really is not easy!). Also, in true Cowboy Bebop style, the uptempo jazzy soundtracks not only help to distinguishing Cowboy Bebop's quite unique identity and style but also just add so much appeal to it. You can't help but get excited in those big moments.

Not sure if this is a storytelling point but will just add it - the 'fan service' is way too much. As always, I can appreciate this is what they had to do to increase its mass appeal and of course, Faye is pretty much designed to be eye candy for people who want to ogle cartoons but 2 things: 1. it was far too gratuitous in my opinion and was compounded by the fact that Faye had shit all to do as a character except fail and get assaulted for the sake of the plot. 2. The scene where Vincent has her tied up/semi-conscious is far too forceful to be considered sexual. My problem with it, is that the directors present it as fan service when really it should be treated as terrifying and violent. When this guy's threatening to rape her, we don't need to see her boobs flopping out of her shirt. To me, that's a clear decision that you want it to be sexy, rather than horrifying, which is a shitty decision.

Lastly, characters. Possibly the only element of this film that isn't super strong. There's nothing wrong with the characters. They're all very appealing, interesting, well designed and play their parts very well throughout. However there isn't much of a journey for any of the characters, especially not the main cast. I guess this is because the movie has to fit in somewhere within the series, so it's understandable. At the very least, if they didn't develop, they did learn throughout the film, which is what you need for the narrative to continue, so it definitely didn't detract from the enjoyment of the film.

I don't think I've stressed enough just how good the animation in this film is, as is very well known, over 20 years after its initial release. But I'd just like to re-iterate one last time that the animation in this fim is absolutely stunning and it's worth watching just for that. Even if you only watch the shootouts and fight scenes.
Also, a quick shoutout to Ghibliotheque who put on the screening of the film in IMAX, which was incredible. Hopefully lots of similar events from them in the future.
Overall conclusion: this film is fantastic and lots of fun and I'd say it warrants the undivided attention of animation nerds, however is also just so cool and visually appealing that anyone would enjoy it.




*Just went back and watched a few scenes from the series and think I was giving it a bit too much credit it my memory. The movie has SIGNIFICANTLY better animation. The series animation is maybe a 7 at best.