I glanced at Ookami Shoujo to Kuro Ouji, but I dunno. Shoujo shows where everyone is manipulative and a little cruel don’t do much for me, so I decided to skip it and look at potentially a more serious or silly show, Sora no Method. Where a girl named Nonoka is returning to her old town after the death of a parent, sort of like Tamayura except here it’s the mother who died, what’s more, there’s a big disk in the sky. As she moves into her old home she finds (after noticing her existence) a strange girl named Noel, delighted to see Nonoka again, if only Nonoka could remember who she is. It leads to a “go away! … Wait, I didn’t mean it!” scene where Nonoka runs all over town, falls into mud, gets rained on, etc. Meanwhile, I was watching with confusion. She SEEMS to remember this weird girl, she’s important to her past, but to get so freaked out about it, and let’s not forget that disk in the sky.
I’m sure the disk will be explained sooner or later. The town residents are completely used to it and think of it as nothing more than a tourist attraction now. Two side characters who will become important later (since they’re in the ED) talk almost cynically about this odd miracle in their sky. The final girl, who recognizes Nonoka (but not vice-versa, in fact, Nonoka seems to remember hardly anyone) from seven years ago, only says cryptic things about returning. Well, some mystery is inevitable for a show like this. I hope it doesn’t turn into something like that 2011 show with ghost girl where everyone cried half the time, and that everyone loved except me. There WAS sobbing in episode one here, but maybe they can turn off the waterworks later on. Who am I kidding?
Gugure! Kokkuri-san is about a lonely little girl named Kohina who summons a spirit because there’s nothing better to do. When a fox spirit Kokkuri shows up to haunt her (NEVER play this game alone) we expect her to be frightened, or at least surprised. Instead she locks the window on him. When he breaks it she tells him to pay for the window. Every time he ups his threats she responds that it doesn’t matter, because she’s a doll, and maybe she is. She has speaks in a monotone and for the most part shows no emotion at all. Also, she lives alone and lives on cup noodles. Kokkuri winds up haunting her, but now that means he cooks her decent food and does the housework.
My description makes it sound dire, but episode one is great fun, most of the time (The thing scene about Google could have been excised). Kohina will “call” on Kokkuri with a chant, “Kokkuri-san, Kokkuri-san,” which becomes a running gag and a rhythmic point for many of the gags, and Kohina’s constant monotone delivery help as well. The series is given a heart early on when hearing Kohina referring to herself as a doll with no heart, free of emotions. “Dolls are unaffected when others draw away from them. Eating lunch alone at school does not unnerve me….” Later, when Kokkuri gets fed up and leaves her, the mood is as sad as any more serious anime show. But fortunately, the Kokkuri and the gags come back. Not often that a show can jump from one mood to another so easily. I’m definitely keeping this for now.
In Ai Tenchi Muyou, Tenchi becomes a student teacher at an all-girl school. You can imagine what happens.
Too early to tell why he’s there, and does it really matter? The first four episodes are silly and raunchy (and incoherent–what was episode three doing there? It looked like they were starting again from scratch), and at the moment Tenchi is about to be strip-searched for the second time that day … I’m reminded more of To Love Ru than Tenchi Muyou, but I haven’t seen all of the original series and it’s been a while. Also, Ryoko hasn’t shown up yet (though other characters have), and it’s not Tenchi Muyou without her, I say. On the other hand this is a four-minute episode series that’s coming out once a day, and you can’t introduce everyone instantly.
Shingeki no Bahamut GENESIS is going for the big, sweeping, grand story. It might actually get there, too, if you can stand any of the characters. We start with a great battle scene where some big cosmic things team up to defeat a giant dragon. It’s great to look at, full of violence, and lights, and with an orchestral score to go with it. Too bad it’s a flashback. Soon we’re in the “present day” in yet another European medieval town where two skilled swordsmen battle from their horses and from a big rolling wheel that has no explanation. After THAT settles down one of them, Favaro, while boasting about his abilities to some women, gets an offer from another woman, meets up with the other swordsman, Kaiser, and kill off some bad guys who keep conjuring demons. And there’s a humorous ending to the episode.
Which would all be great except that Favaro drives me up the wall. He’s one of those highly-skilled but totally irresponsible types, constantly boasting to people and trying to rip them off. His enemy/ally, Kaiser, is a rich stick-in-the-mud, and potentially as bad but the episode decides to focus on Favaro. Meanwhile I was hoping the episode would have one of those gimmicky shock endings where he gets killed, but alas, all that happens, well … A shame, because the show does look good and the creators are taking the action scenes seriously. But I can’t stomach the thought of watching Favaro every week.
Orenchi no Furo Jijou is a short show about a young man, Tatsumi, who rescues another young man, Wakasa, who turns out to be a merman and starts living in Tatsumi’s bathtub because he doesn’t want to return to the river. You can’t blame him, with all the pollution and all. And that’s about it.
Wakasa is about as annoying as Favaro. He’s a freeloader who demands special treatment and does absolutely nothing to pay Tatsumi back. Tatsumi, meanwhile, has no idea what to do with him, and I suppose that’s how it will go for the rest of the series.