Mobile Suit Gundam Narrative - One Night Movie Premiere

If you told me ten years ago that I would be able to regularly watch anime movies on the big screen in theatres I would have surely not believed you. Besides maybe a few Pokemon movies or an occasional film in some mega franchise I don’t particularly care for such as Naruto, the prospect would probably seem alien to me even. So it’s funny how times have changed and how anime screenings in theatres is becoming increasingly more common in North America. Just last month I was able to watch the phenomenal Dragon Ball Super Broly film in a packed theatre with a ton of other nerds and it was a delightful experience. Before that I got to see the fun anime version of Die Hard known as My Hero Academia: Two Heroes, and before that a love letter to Go Nagai known as Mazinger Z Infinity! Now only a month after Broly I get to watch an honest-to-God Mobile Suit Gundam motion picture in a theatre too? I feel like the luckiest guy alive. 

If I am being honest, I actually hate going to the cinema most of the time, and spent many years avoiding doing just that. I was always the type of person that was happy enough to rent a movie once it released on DVD/BD and that was the extent I would need out of cinema at large. The only exception I started to make was when Disney purchased Star Wars, and that was more out of fear that ravenous fans online couldn’t keep their mouths shut than it was about anything else. Over the years however I started to develop a greater appreciation towards movie theatres at large and a lot of that has to probably do with anime. As I began to become a serious collector of anime and made the transition from my old DVDs to crisper BDs I realized I was at the point where as a fan I wanted the most out of my all time favorite movies--because these were not just my favorite anime movies but my actual favorite movies, and that’s when I realized I truly wish I could have seen them the way they were meant to be; on the big screen, with an insanely powerful surround sound system, wth fans all gathered around cheering at the best moments. I will probably never get this experience for Akira, or Galaxy Express 999, or the many other films that mean the world to me now, but I can get the experience for future movies, so I don’t want to miss out ever again. 

Gundam is one of my favorite franchises from my childhood. As a young kid I fell in love with the amazing robot designs and was blown away at the prospect of an anime that just felt so different from DBZ, which besides Pokemon was probably my only real understanding of anime at that age. As a teen and young adult especially the franchise became increasingly important to me and left a lasting impression on my psyche. I can’t tell you my favorite Gundam series nowadays because the answer will probably be different every time. Maybe I’ll say the original Mobile Suit Gundam, warts and all, it’s everything I love about anime from the 1970’s and to this day I still love the original Ocean Group dub from Canada. This dub while wooden and showing its age terribly will forever be etched in my mind as the definitive voices for most of the Universal Century characters despite Shuichi Ikeda butterly smooth, ecstasy inducing voice in most of the Japanese series. Maybe I’ll say Zeta Gundam as Kamile was a character my younger self identified a lot with and the series as a whole left a very strong impression on me. Maybe I’ll say Turn A Gundam, a beautiful psychedelic series that displays some of the best writing from series creator Tomino. 

So yes, having a chance to see any Gundam film in theatres was something I couldn’t miss. Even if said film ended up just okay it wouldn't matter, as not in my wildest dreams did I actually think I would get this opportunity. I figured the closest I would ever be to seeing Gundam on the big screen would be if I happened to be in Japan for some reason around the time a new Gundam OVA or film was being screened. When Gundam NT tickets went on sale for North America I bought them the day online orders were opened and was even the first person to buy a seat at the theatre (thanks to reserved seating I could see nobody else had bought a seat yet). It didn’t matter to me that I had to drive 45 minutes to the cinema, nor did it matter to me that I honestly knew nothing about Gundam NT, I just wanted to experience Gundam this way at least once in my life. And so last night I made the trek across the city and finally got to see Gundam like I never have. Now I have decided I want to share some of my thoughts and impressions about it. This won’t be a formal review, nor is it meant to be, as more or less I’m just exposting some of my thoughts, off the cuff.

First a little background information. Sunrise’s current "UC NexT 0100" project that tackles the next century of Gundam’s UC (Universal Century) timeline as well as their ambitious promise to deliver a new theatrical Gundam film every 1-2 years from 2018 onward is something to behold, so it’s no big surprise to me that the first film to kick off both of these initiative would be a sequel to the highly acclaimed Gundam Unicorn OVA series. Saying Sunrise is kind of on a Unicorn kick right now would be an understatement after all. I actually don’t mind this so much however like a lot of people seem to, as Unicorn deserves all the praise it got and there is no two-ways about it being a pivotal factor behind Sunrise’s returning commitment to the UC timeline again after releasing nothing major in it for nearly a decade. Gundam Narrative serving as a sequel to Gundam Unicorn is something I am totally neutral about. 

My greater concern going into the Gundam Narrative film was more that Gundam and films have a pretty rocky history. Honestly most Gundam movies tend to be more on the awful side. If I had to rate all the ones I’ve seen I would probably only say Gundam Thunderbolt: December Sky and Gundam Thunderbolt: Bandit Flower are fantastic, the original Mobile Suit Gundam film trilogy is an excellent compilation movie series and a good enough replacement for its own television version, the Zeta New Translation films are incredibly disappointing and omit too much, Char’s Counterattack is a hot mess that barely makes a lick of sense, Gundam F91 would have been a fantastic TV show but as a movie it makes me sad, A Wakening of the Trailblazer is okay but also undone by its own weirdness, Endless Waltz is what you would expect out of Wing, the Turn A compilation movies are pointless, and G-Savior sure was … a thing that exist. 

Well I am happy to say Gundam Narrative is among the rare films for the franchise that I thoroughly enjoyed from start to finish! A lot of this has to do with the scale being relatively small versus the usual scale in Gundam films that are way too big for their own good. Narrative’s laser focus on chasing after the missing Unit 03, the Golden Phoenix sibling to the two Unicorn and Banshee units we’ve seen in the previous Gundam Unicorn series allows it to tell a story largely separated from politics and the world at large--and let’s the characters become the main focal point of the film like any good movie should. 

This aspect alone is missing from so many other Gundam films and is partly why so many fail at being a good viewing experience. I’d say the few that do find that focus, mainly the Thunderbolt series of films and the original trilogy of movies made from the 1979 TV series are the best in the franchise’s filmography. A ton of other Gundam films tend to be bloated as well with rather boring middle sections, so the brisk fast pace of this 90 or so minute runtime for Narrative was a welcome relief. There are some awkward cuts to the film sure, but honestly I felt this beat sitting in the theatre for two and a half hours bored at the long winded middle section that goes nowhere like some previous Gundam films are especially guilty of. This was just enough time to tell a story of this scope properly. Of course the characters and scope of the story isn't enough to carry an entire film so the fantastic soundtrack from returning Unicorn composer Hiroyuki Sawano helped to sell a lot of scenes in the film as well.

The biggest factor that made Narrative for me however had to the film’s focus on the more metaphysical aspects of Newtypes. Despite my disliking of a lot of Char’s Counterattack I still find the more psychedelic (so to say) aspects of it to be fascinating, just as I always have when such spiritual topics have shown up in prior Gundam works by Tomino and the many teams at Sunrise. While far from perfect I always enjoyed this kind of kooky spiritualism to the Gundam universe, a sort of new age 80’s science fiction interpretation of the soul would be the best way I can describe it but there’s no real way for me to do it justice nor to make it not sound ridiculous. Since Tomino has left a lot of Universal Century Gundam series have focused more on everyday soldiers instead and not so much on Newtypes, the future evolution of mankind, and the soul. In fact I always felt Sunrise somewhat shied away from a lot of these aspect to Gundam since then, so when we got to see this aspect return near the very end of Gundam Unicorn it was a nice treat to me personally. Having it permeate almost the entire runtime of Narrative’s story had me over the moon. A lot of people disagree, and more power to them, but I just can’t get enough out of the spiritual aspects seen in Narrative. 

Gundam Narrative being a modern UC timeline production means it of course has references and lore connections to a ton of other classic Gundam series and moments. I really enjoyed most them even if they were just silly fan service moments. I love that we got to see the famous Colony Drop drawn with modern day high budget animation and it wasn’t just reused old footage. Getting to see clips of the Psycho Gundam ravage Hong Kong City was a joy on the big screen even if it lasted only about 10 seconds. I loved that we got to hear some of Char’s Dakar speech again in Narrative--this gave us an opportunity to hear Keith Silverstein, the modern English voice of Char since 2010 handle this legendary speech of his from Zeta Gundam. Speaking of the English dub my favorite performances were definitely Griffin Puatu’s portrayal of the protagonist Jona Basta that had to carry a lot of the emotional weight of the film and Stefan Martello’s portrayal of the off-the-walls insane Zoltan Akkanen who was just a pure fun villian that ate up every scene he was in. The Narrative Gundam itself being a reworked prototype of Amuro’s Nu Gundam from Char’s Counterattack 4 years ago was also a fun way to fit another Gundam into this time frame and I love it gave us such a classic looking Gundam in the Unicorn era of the franchise. 

I had almost zero expectations for Gundam Narrative, and all I really wanted was the big screen experience for Gundam. As someone that loves the psychedelic spiritual aspect of Tomino’s old works, and someone with zero expectations that a Gundam movie can really be all that good anyways I walked away from that theatre last night loving what I saw. Gundam Narrative has me personally excited for the future of Gundam films, especially if it means we may see more theatrical screenings in North America for said films. This is probably not a film for everyone, and is definitely heavy on both your love of Gundam Unicorn and your love of some of the craziest stuff Tomino would whip out in his heyday of working on the franchise, but if you’re like me I think this one will be a lot of fun, even off the big screen.

Valentine’s Chocolates and Glass Masks

The romance genre in anime is a little weird, and honestly on the whole the majority of the genre in anime is probably a bit too slow for its own good. “Will they or won’t they” is something most romantic fiction is guilty of, but I think you’d be hard press to come across 150 episode TV series dedicated solely to that premise anywhere else. And this has nothing on the pure silliness that can come with the genre; hand holding, indirect kisses, masked secret admirers, all that good stuff. Really, I’m not here to trash talk romantic anime though, but as I sat down and tried to think about writing a Valentine's Day blog post I just couldn't help but think to myself how romance anime might be the hardest to explain to anyone not in the fandom. I mean, I think I’d have an easier time explaining the plot of any given saga in DBZ than I would explaining “Notice me, senpai” to somebody.

You know what though, I kind of ironically enjoy all of this. Yeah, pure romance anime can be cheesy, but it’s just the right amount cheese that it’s like, c’mon, how can you not enjoy this? Perhaps the worst (or best!) offender of this are older shoujo titles where they can seem almost downright like a soap opera at times. Shows like these are just so full of bizarre, off-the-walls, and over-the-top melodrama that they manage to suck me completely in. They’re heartbreaking, they’re engaging, and the times when they fail at being those things they are hilarious. 

My most recent experience with an older shoujo title like this would have to be studio Eiken’s 1984 adaptation of Glass Mask. Now Glass Mask (or Glass no Kamen as it is known by some) is a manga that started life in 1976 and to this day has yet to be finished, with the manga creator Suzue Miuchi stating she would like to finish it soon, but hasn't quite figured out when that will be (move over Hunter x Hunter fans). Having been one of the earlier shoujo titles starting back in the mid-70’s the series is full to the brim with pretty much every cliche and trope you can think of for shoujo anime, and to a modern audience it can often be almost hilarious at times to sit through. It is important to remember that for its time Glass Mask was a trend-setter and arguably if not the creator than certainly the reason why a lot of these cliches became cliches in the first place. Over the years Glass Mask has received its fair share of adaptations and even parodies, and currently has 3 different animes as well as a live action drama series and real life stage plays based on it. I heard the most recent anime, the 2005 TMS adaptation of Glass Mask, does a pretty great job at modernizing several aspects of the series, but unfortunately I have yet to watch that to weigh in so all I can say is that I was inundated with more cliches than I could count and laughed a ton while watching the 1984 series and I loved every minute of it. 

Glass Mask is the story of a young 13 year old girl Maya Kitajima, who has a dream to be a great theatre actress. Unfortunately for Maya she’s from a very poor family, and even more unfortunately for her, she is incredibly average looking with no flair--and don’t worry, the anime will remind you of that fact countless times every episode. Despite her damnable curse of “just looking kind of average” Maya will stop at nothing to pursue her dream and eventually runs away from home after getting a scholarship for an acting school. There, the enigmatic Chigusa Tsukikage notices Maya’s talents and takes her on as her protege. Soon, Maya learns that her mentor Tsukikage was once a legendary actress thought to be truly one of the all time greats who due to a tragic Phantom of the Opera style accident had her face hideously scarred and retreated out of the spotlight. 

Tsukikage is looking to pass on her talents to the future generation and eventually pass on her greatest possession, the rights to the elusive Crimson Goddess play--a supposed legendary masterpiece that has not been seen by anyone in decades; not since Tsukikage’s career ruining accident. For some reason the director and creator of the the Crimson Goddess play saw it fit to beseech all the rights to his masterpiece to Tsukikage and thus nobody else has been able to produce this elusive phantom play since. It won’t be easy for Maya and the Tsukikage acting school, as media conglomerate and mega corporation Daito Entertainment will stop at nothing to get the rights to the Crimson Goddess, and isn't afraid to sabotage them at every step of the way. Perhaps Maya’s greatest rival however is the young Ayumi Himekawa, the daughter of an already famous actress who is said to be the favorite to inherit the Crimson Goddess role, and is everything Maya isn't; beautiful, rich, famous and well loved by all, and while not a student of Tsukikage she is more than willing to pass on the rights to Himekawa if Maya fails to prove herself.

It’s easy to already see the cheesiness just from me trying my best to summarize the basic plot, and we haven’t even gotten into the romances yet. Maya’s relationship with the young Yu Sakurakoji is fairly simple at first, as he helped rescue her from a feral dog and despite being in rival acting schools--one affiliated under Daito no less, he’s a pretty chill guy that enjoys spending time with her and doesn't care about all that stuff. It’s only after Maya starts to take off in her career that Sakurakoji starts to spiral into this insane inferiority complex centered around her, where he thinks she has become too good an actress for him to be around anymore and starts to give her the cold shoulder all because of his own make-believe shortcomings. It’s very odd and sudden, and the entire thing is blown out of proportions as Maya clearly does not think that and Sakurakoji eventually has to be lectured by bad boy Masumi of all people to come around again and start spending time with Maya again. Even though he eventually starts being around Maya again it isn't like the old days anymore and the gap that was created from his action still exist. 

And oh boy, don’t get me started on Masumi, he’s quite the character. Masumi Hayami is the 24 year old son of the president of Daito Entertainment and is currently running the corporation in his father’s stead. Masumi serves as both an antagonist and love interest (because of course he can be both) in the early parts of the story and is often behind some (but not all) the sabotage done to Tsukikage’s acting school. Masumi will eventually take a more reasonable approach when it comes to trying to yank the rights of the Crimson Goddess away from Tsukikage’s hands as the anime progresses, often just by having his acting school beating Tsukikage’s students in contest and the like, and it’s here where we usually see Masumi’s employees that work under him being the more underhanded characters instead of Masumi directly engaging in the conflict. 

Despite being on different sides, so to speak, Masumi catches one of Maya’s earliest performances, her role as Beth in Little Women, and falls in love with the young girl, impressed by both her potential as an actress and her fortitude for going on with the show despite suffering from a dangerously high fever and immediately being rushed to the doctors after the curtains fall. From this point on her takes the role of “Mr Purple Roses” named for the bouquet of purple roses he sends to her at every show. As her secret admirer and the first fan Maya has ever had he means a lot to her yet as his true identity of Masumi he’s an enemy that Maya cannot stand to breathe the same air as. So in short, Masumi is just your average 24 year old CEO of a mega corporation crushing on a 13 year old girl from a small acting school he is trying to ruin and also her secret admirer. Somehow Masumi is one of the best characters in the series, and is my best boy. Only in shoujo!

So far I've been having some cheap laughs at the expense of the 1984 Glass Mask anime but it’s not all like this. The over-the-top bombardment of old school shoujo cliches and the laughs I got from them may be one of the most memorable component of my viewing but there’s actually a lot more to this anime than that. When you get beyond the silly age gap romances and the flowery melodrama of young teenage love, Glass Mask is a story of artists trying to pursue their passions and dedicating their everything to them. Maya may be cursed to forever be “only average looking” but I really respect her drive to dedicate her entire life to theatre. 

Well, that is to say, the times when she isn't acting like punching bag to the rest of the cast (Glass Mask has a tendency to make Maya into a Cinderella surrounded by tons of wicked stepsisters). When Maya is written not as a Cinderella she’s fiercely determined, and never backs down despite some straight-up abusive behavior she is put through. At times her mentor Tsukikage is absolutely savage, regularly beating Maya and putting her through some training that is definitely highly illegal, at least for today’s standards. For instance she once threw Maya in a shed and locked the door refusing to let her out until she finally understood her character she was assigned. Did I mention it was in the middle of the freezing cold winter and snowing out and Maya only had the clothes on her back for warmth? She was out there for days with no food, water, or even warmth. But don’t worry, she had her script to read and that made it all okay. Like goddamn, somebody call child protective services on this lady.

Speaking about “the art” and everyone’s passions, the more you watch the series the more it becomes obvious that the creator, Suzue Miuchi, really cares for theatre and isn't just using it as a vehicle to propel her own story. There are countless renditions of classic plays shown in Glass Mask, such as the mentioned already Little Women, The Miracle Worker, and Wuthering Heights, just to name a few. Some of these plays are presented without any changes while others may have reinterpretations made to them by the characters who are trying to give their roles a life of their own away from the original source material. Miuchi very much understands theatre and does a great job converting many famous plays into a more compressed and easily digestible form of entertainment that can be viewed on a week by week bases. The analysis characters give about the plays and other characters’ performances, the ways characters interpret their parts, and how the plays that we are privy to see in the series end up all show a deeper understanding of the medium. Watching Glass Mask is almost like taking a beginning course in theatre that covers all the classics, only with way more melodrama and over-the-top romance than you will find in your local theatre group. I hope.

What’s the most impressive however goes beyond just Miuchi’s renditions of other classic works and instead are her own plays that she creates herself. As not only does Glass Mask use pre-existing plays it also has its own original productions that will spring up in-between the real world plays. A lot of these self created plays are very enjoyable too, and some feel way more fleshed out than they have any right to be and you often find yourself regretting that you are only privy to a small part of the performance and not able to just sit there and watch the entire play like the characters in the anime do. Maybe that’s why it shouldn't be too much of a surprise that some of the plays Miuchi has created for her manga have later been adapted into real life plays in Japanese theatres. This is probably the greatest testament to the series’ popularity right there, where its own fictional works are turned real. I can’t think of many examples of something like that happening before. 

I’d be remiss not to mention the visual aspect of this series before wrapping up my thoughts on it too. While certainly no powerhouse in animation, Glass Mask 1984 goes for a more picturesque route, and does a great job with tons of beautiful still shots and intricately detailed background images. It’s a humble production but with the right use of lighting a lot of scenes can really shine (pardon the terrible pun it was an accident), especially the night shots which can be pure art. Hang it in a museum, I say. I’m almost surprised we don’t see more “aesthetic” anime blogs mining images from this series. Veteran director Gisaburo Sugii (Dororo, Touch, Osamu Tezuka’s Phoenix) leads the production with skilled marksmanship you would expect from his previous (and future) pedigree, and along with legendary animator the late Shingo Araki (Ashita no Joe, Galaxy Express 999, Saint Seiya) the series has a wonderful 80’s flair to it that just fills any retro anime fan full of nostalgia whether or not they have seen the show before. 

Studio Eiken’s 1984 Glass Mask adaptation is a short, briskly paced 22 episode series that is easy on the eyes and not hard at all to still sit through for modern audiences. It’s full of tons of laughs (both ironic and sincere) as well as tons of melodrama and over-the-top romance. Most importantly though, it’s a full of passion; lots and lots of passion. During its short episode count the series watches Maya progress as an actress and grow older, with her finishing middle school and beginning high school while also balancing full time acting jobs on the side. The ending is left open--and let’s face it the manga hasn't even ended some 35 years later still--but there’s enough forward momentum in the series to really feel like your time with the characters wasn't wasted and that they were able to accomplish something--not to mention the ending spot is a pretty decent one leaving the viewer wanting more but enjoying a satisfying conclusion to one of the more interesting story arcs adapted. Overall I think anyone who enjoys cheesy anime romance can sit down with this series and have a fun Valentine’s.

50 Years of Dororo - Mushi Pro’s Dororo 1969 vs Studio Mappa’s Dororo 2019

2019 marks the 50th anniversary of Mushi Pro’s Dororo anime adaptation, the last anime to be made solely in black and white. The 1969 original Dororo anime is a cult classic, with high accolades from the diehard community and still holds up incredibly well to this day. Yet that didn’t stop Studio Mappa from creating their own adaptation of the manga, which has finally released just this week. So the real question is, how do the two of them compare--well let’s get into it.

But first, a little background. The original Dororo manga, created by prolific manga creator Osamu Tezuka, ran in Weekly Shonen Sunday for about one year, from August 1967 to July 1968, where it then entered a hiatus for a brief period, before finally shifting to the Monthly Adventure King magazine in 1969 where it was serialized for about 6 months (May to October ‘69) and finally “concluded”. I say concluded but the manga mostly just abruptly stops before the characters accomplish any of their own goals, and things are more or less just left open in case Tezuka ever wanted to come back to the series (he didn't). Despite this Dororo has remained to be an incredibly beloved property by Tezuka and seen its fair shares of retellings and adaptations from video games to live action films, and of course to anime.

So now let’s talk anime. The original 1969 adaptation of Dororo was created by Mushi Pro, Tezuka’s own animation studio that he started half a decade back in 1963, and as said above was the last anime to be created solely in black and white. By this point in time color TVs were finally becoming widespread in Japan, and most anime have already started to be created in color. This was not an easy process, and was more time consuming for the production, which is why the decision was made by Mushi Pro to stick to the work pipeline they had and produce Dororo in black and white, a decision that really went on to define the entire series. Mushi Pro's Dororo has a very crisp look, with some great animation for its era, but beyond manages some incredibly terrifying and equally breathtaking moments because of its sharp drawings mixed with the black and white aesthetic. There’s just something about black and white, the atmosphere it creates is otherworldly, just ask any movie buff and they’ll tell you the effects it has on the horror genre is undeniable. I think these late black and white 1960 era anime hold up so incredibly well, and may in fact be even creepier nowadays (the 1968 GeGeGe no Kitaro comes to mind).

Dororo (1969) episode 4: The Scroll of Bandai Part 2

Time marches on however, and after 50 years it’s time for another studio to take a swing at Dororo. Mappa is a small animation studio established in 2011, founded by Masao Maruyama, producer and co-founder of Madhouse, who left Madhouse to pursue his own passions and took some staff with him. Maruyama would later leave Mappa in 2016 unfortunately, but the studio to this day has still been producing hits since. The staff behind their current Dororo adaptation is helmed by Kazuhiro Furuhashi as director, Satoshi Iwataki as character designer, Yasuko Kobayashi in charge of scripts, and Yoshihiro Ike composing the music. Background animation is handled by Studio Pablo. Dororo is produced by Twin Engine, a production company with its main focus being the creators of the medium. Founded by Kouji Yamamoto, Twin Engine wishes to let young artist focus on creating anime, ignoring popular trends instead pursuing only the art of the medium; often commissioning work from studios to keep them financially afloat. Dororo, like a large majority of Twin Engine produced series, streams worldwide on Amazon Prime.

My final aside before diving into some thoughts on how both adaptations compare is that when it comes to adapting Tezuka’s iconic designs to the form of animation there are often changes made. The more Disney-esque look of his drawings can be hard to pull off for action animation, and well, giant noses, and bushy mustaches are well and good, but when you’re trying to sell hideous monsters chomping people into bits, maybe they are not that fitting for this story. That’s why both the 1969 Mushi Pro and 2019 Mappa series have their own takes on the design of the characters. Mushi Pro sorta goes for making protagonist Hyakkimaru more buff, and adult looking, whereas Mappa makes their Hyakkimaru slim and more ikemen. I think both approaches work fine for the story at hand, and are interesting time capsules of themselves for their own eras. 

So let’s compare the first episode of both series!

Both episodes start in a similar fashion, with Feudal Lord Daigo Kagmitsu making a deal to 48 Demons and sacrificing his then unborn son in the process. However even this early on we can see differences between the two adaptations. 

In the 1969 Mushi Pro version Daigo willingly offers up his own son to the demons, and does so for power, asking them to grant him all of Japan under his rule, whereas in the 2019 Mappa version Daigo only offers the demons anything they want in return, never directly giving them his own son, and asks for the demons to give him the power and prestige he will need to rule over Japan. 

At first I felt that Mappa may have made Daigo a bit more sympathetic, him seemingly asking for his own province to be granted protection from disease, famine, and war is certainly something we haven’t seen out of the character, but were perks he does enjoy later in the story regardless. As I ruminated on it however, I realized it’s more of an attempt to round out his character and add some extra depth to him. Sure those may have been great things for a Feudal Lord to ask for, but Daigo really only cares about one thing, and that’s ruling Japan; this has yet to change. Daigo still has no qualms about his own son Hyakkimaru being born a hideous freak and still throws away the newborn baby to die in some river while yelling at his wife to make another one to replace it. 

One Buddhist monk starves to death while bemoaning the state of Japan
while another is slain and bemoans the current state of affairs in Japan.

Then there’s Daigo killing a Buddhist monk. This scene does not exist in the 1969 Mushi Pro version (but Daigo does murder the monk albeit under different circumstances in the manga) and I have quite a bit to say about that. Daigo’s conversation with this monk, again, shows him off to be a bit more well rounded. He’s still selling his soul to the devil, but we can see his own level of commitment to his ambition when talking to the monk. The monk also plays another role that mirrors Mushi Pro’s first episode. In Mushi Pro’s debut episode Dororo comes across a starving Buddhist monk that can do nothing but beg for food and pray, and eventually succumbs to his starvation and dies. Both monks remark about the horrors of the current sengoku era being like Hell on Earth, and are meant to communicate to the audience that this particular time in Japanese history is perhaps one of the cruelest.

1969 or 2019, Daigo is still a dirt-bag.

Let’s talk about Hyakkimaru’s birth as I think it’s a pretty interesting contrast between these two adaptations. In the 1969 Mushi Pro version Daigo already knows his son should be born a monster so upon seeing the hideous freak that is his baby boy, he proudly declares “My end of the bargain is fulfilled!” The demons have accepted Daigo’s offer and he can’t be happier. In the 2019 Mappa version Daigo is not aware of what the demons will take until a bolt of lighting strikes the room his wife is giving birth in. Upon seeing the baby up close (something not seen in the 1969 version until the second episode) Daigo realizes what has happened and orders the baby killed. We then get a conversation about a Buddhist statue that happened to break in the same room. The wet nurse believes it sacrificed itself in order to save the baby, giving a sorta strange implication that perhaps the deal wasn't to take 48 body parts from Hyakkimaru but to take everything from him, including his life. In fact we never really even establish if there are 48 demons, or 48 body parts missing, so the number may vary, and the kind of curse could be different. If that is true, it is certainly a unique approach to the series.

The image of baby Hyakkimaru from Mushi Pro's 1969 Dororo adaptation
is taken from the second episode as it was not shown in the first episode.

Hyakkimaru’s birth between the two versions shows how both mirror each other--we have less subtle writing but more subtle animation in the 1969 Mushi Pro adaptation, and more subtle writing but super over-the-top animation in the 2019 Mappa adaptation. I find this maybe the best way to compare these two anime entirely so far. There is no huge lightning bolt smiting the room Daigo’s wife is giving birth in, in the Mushi Pro version, instead you hear the mother scream in terror upon Hyakkimaru's birth as she breaks down and cries. Daigo and his wife's expressions of horror at the baby is the only clear indication of Hyakkimaru's hideousness instead of just showing the baby like Mappa did. But The Mappa version is trying to give some more depth to its characters, and maybe even to is own world with added bits such as the Buddhist statue maybe protecting Hyakkimaru. Both adaptations seems to have reverse on what they wanted to be subtle about and what they wanted to be over-the-top about. 

In the 1969 Mushi Pro version Daigo and his wife send Hyakkimaru down the river in a basket themselves, where as in the 2019 Mappa version Daigo orders the wet nurse to drown Hyakkimaru in the river, but she pities the baby and places him in an abandoned boat then pushes it down the stream. And then a demon shows up and murders her out of nowhere and is slain by the blind monk Zato (a character that didn't appear until Hyakkimaru narrates his past to Dororo a little later in the story). Yeah, that was a really weird addition to the story Mappa made. It’s certainly more over-the-top and gets a bit more action into an episode that amounts to basically all set-up, so there is that, I guess. Still really weird to see Zato show up like this. 

Both Zota and Jukai don't make their introduction until Hyakkimaru explains
his past to Dororo in the second episode of the 1969 Mushi Pro Dororo.

Speaking of adding in characters earlier than before, Mappa included scenes that would interrupt the episode every now and again that focus on a doctor who gives prosthetics to dead maimed warriors so they can rest in peace. These scenes did not exist in the 1969 Mushi Pro version, which didn't show Jukai until episode 2 where it tells the story of how he saved a baby in the river he found, Hyakkimaru, and gave it prosthetics. 

The introduction to Dororo is pretty similar in both versions, but more drawn out in the 1969 Mushi Pro adaptation. As discussed above with Daigo and the Buddhist monk, there was a scene where a starving monk begs Dororo for food before succumbing to his own starvation and dying, this was not present in the 2019 Mappa adaptation. Dororo gets more time to just do some general hijinks and mess around in town in Mushi Pro's version as well, before finally stealing food from some lowlifes and getting the crap kicked out of him by the riverbank. 

In the Mappa version instead of stealing food from lowlifes Dororo steals their cargo and tries to pawn it but is caught then beaten at the riverbank. I imagine Mappa was just trying to streamline Dororo's introduction here for time constraints so they did their best to get across that he’s a thief while also making sure he ends up at the riverbank right away. Either way both adaptations lead to this slime looking monster appearing out of a pile of garbage in the river and eating the lowlife. Mappa’s more over the top animation has the monster swinging around its arms wildly until eventually grabbing said lowlife and making a snack out of him, where Mushi Pro has it slowly slither on top of the lowlife and then melts him. Ouch, that’s kinda way more messed up. 

The lowlife gets melted by the monster in the manga too.

From this point on both adaptations are pretty much entirely the same, with just differences in animation quality being really all there is to comment on. The fight scene between Hyakkimaru and the slime in Mappa’s version is fantastic, with Hyakkimaru performing incredible acrobatics, jumping all around the bridge and slicing the whole thing up until it collapses on top of the slime killing it, where Mushi Pro … well they did their best, okay. 

The real big difference is that Dororo seems a lot more intelligent when approaching Hyakkimaru in the 2019 Mappa version. Dororo was very quick to notice that Hyakkimaru is blind, and that his body is made up of mostly prosthetics. The 1969 Mushi Pro Dororo ends up getting terrified in the very next episode upon the realization that Hyakkimaru’s eyes are fake (he admittedly popped his glass eyes out of his head though to scare Dororo away).

The 2019 Mappa version has it that the riverbank monster was apparently one of the 48 demons Hyakkimaru needed to slay in order to regain his body parts, this one giving him back his skin. Hyakkimaru was actually born with his skin in the 1969 Mushi Pro version (as well as in the manga), and the monster was not the first demon he needed to kill but just a run-of-the-mil yokai that awarded him no regenerated body parts. Hyakkimaru actually worded it as "the dead", which have no true shape of their own and just latch onto anything, in this case the garbage in the river--thus making the slime monster we saw. Again I think Mappa was trying to kill two birds with one stone and get the audience acquainted with the series quicker since the general plot is essentially Hyakkimaru slays monster, Hyakkimaru grows back lost body part. This was a good way to streamline things, and it was with a body part that he wasn't missing before so it takes away nothing from later parts of the story.

And this is the biggest difference right here at the end of the episode, Hyakkimaru has yet to talk. He may not be able to speak at all until he’s slain enough demons to get this ability back. The Mappa version has so far seemed to point to Hyakkimaru being mute, deaf and blind, and completely cut off from the world. The Mushi Pro version had Hyakkimaru lack his eyeballs, his mouth, and his ears, but he could still speak and hear (just like in the manga). I always assumed it was just his outer ear missing but he still had all his inner ear like his eardrums, and well, you can talk without lips, so there was that too. The Mappa version seems to fully commit to Hyakkimaru being born without all his senses, and if it’s true it will be a super interesting take on the character to be sure. It will also be hard to pull off considering how much he speaks in the original story; he's a very vocal character, so if it is true, until he regains his ability to speak Dororo has to be the one to carry the duo in conversations entirely now which will lead to major shake-ups in the plot.

What do you think of the newest anime adaptation of Dororo. Are you excited to see the classic come back for modern times? Do you wish it was more like the manga or are you enjoying all these attempts to create something more modern with the source material? Do you think Hyakkimaru will speak in the next episode or do you think he's actually going to start the show as a mute? Are you looking forward to keeping up with this new adaptation of Dororo?

PS - Shout out to Mappa for putting a dog into their first episode that resembles Nota, the mascot character invented for the 1969 Mushi Pro series in a vain attempt to prevent children watching it from being emotionally scarred (it probably didn't). 

My Anime Picks for 2018

This is the second half of a two part blog series. If you missed the first half on my favorite video games of 2018, then you can read it here, otherwise please enjoy checking out some of the anime I liked the most in 2018. And for those who need a refresher, or just aren't interested in my gaming list, please remember that I do not think myself in any way shape or form an expert, and this is just a personal list I made up for my own amusement. Other than that just like the year before I am avoiding listing sequel seasons and won’t be talking about a long running anime unless it started this year in 2018--so even if I thought a show from a prior year--such as Black Clover--had a great run in 2018, I won’t be acknowledging that here. This list would just be too much of a mess if I did! Everything is presented in alphabetical order to so as to avoid ranking my chooses.

Devilman Crybaby

Devilman Crybaby began 2018 off with a huge bang, and was able to maintain its number one spot in my heart the entire year, an impressive feat considering its January premiere and just how good Megalo box, Planet With, and GeGeGe no Kitaro turned out. I wrote so much about Devilman already this year that I honestly can’t bring myself to sing any more praises for it by this point, but it definitely deserves all my praises and more. Crybaby was an absolutely beautiful and chilling re-imagining of a true classic, done justice by an auteur creator. If you want to read a bit extra about it, check out the piece I wrote about Devilman in my Halloween series this year.

GeGeGe no Kitaro

2018 marked the 50th anniversary for a lot of legendary properties and legendary creators. This was Go Nagai’s 50th anniversary as a comic artist, and the 50th anniversary of the Ashita no Joe manga, but perhaps one of the most important of the big 5-0 anniversaries this year was the 50th anniversary of the GeGeGe no Kitaro anime series. After the passing of comic legend Shigeru Mizuki in 2013 there is something all the more meaningful to see Kitaro on the small screen again--even after his creator’s passing Kitaro is still there to grow up with another generation of children. This is another anime series I talked ad nauseam about during my Halloween series this year, so I don’t want to go on too much now, but I will say this has easily been the highlight of all my Sunday mornings since it started in April, and this is the series that Mizuki and his legacy deserved. It’s doing one hell of a job kicking most “adult” anime's asses in terms of writing quality and animation, all while still being a kid show. It never talks down to its young audience either and tackles some really modern issues such as smartphone overuse, bullying, refugees that lost their own country, and even suicide.


The Girl in Twilight (Akanesasu Shoujo)

The Girl in Twilight is pretty much the last thing I expected but somehow I came around to really enjoying it. From the mind of Kotaro Uchikoshi, the creator of the Zero Escape, comes … well .. ah … a magical girl show? About traveling to different parallel worlds? Where hijinks ensue and it’s more a story about growing up? Yeah, this … is a hard one to explain, and not really what I would expect with Uchikoshi’s name attached. I mean 999: Nine Hours, Nine, Persons, Nine Doors, this is definitely not, but well, this isn't half bad. The science fiction elements about radio frequencies and different worlds definitely feels like something out of an Uchikoshi game and all the all girl cast is actually very charming and sweet. I got really invested in seeing them grow up and face their inner problems. So a weird show, and nothing too special either, but this really grew on me personally.

Gundam Build Divers

The original Gundam Build Fighters anime in 2013 was like a phenomenon that caught literally everyone off guard. This silly little kid’s show meant to sell toys was somehow one of the best anime the year it aired and was made with so much love and attention to detail that it was a better anniversary present to the Gundam franchise than some of the actual anniversary celebrations. Ever since the original fans have been pretty divisive on the sequels, and while Build Divers is still not the original, I think it’s the closest we've come out of all the past sequel seasons and OVAs in the “Build” sub-series. I really enjoyed the Virtual Reality angle of the series, and thought the creative team did a lot to give the series an identity of its own instead of feeling like a dull retread of the original Build Fighters like Try did. So wrap that together a great main cast, and some pretty fun team battles and I say this was a win for Gundam fans.

Gurazeni: Money Pitch

Gurazeni is an anime I think most people never gave a fair chance. What seems like a basic sports series with a weird focus on money turns out to be so much more. It’s an inside look at the professional world of Japanese baseball, where you can really learn all the ins and outs and what makes the business end tick. The most interesting part however is that this is not your usual series starring a High Schooler with some grandiose dream, but a cast of adult professionals, many of which are just struggling to get by and stay in the game. It’s a completely different kind of feeling. 

Professionals play some 100+ ball games a seasons. With that many games it’s not like they are all hot blooded screaming matches and if you lose once you’ll be out of the tournament. You gotta play smart, you got to think about your stats during the season, you gotta make sure you secure your spot on the roster for next year, if you excuse the horrible pun, this is a whole different kind of ball game. That’s what made Gurazeni so much fun every week, it’s more a calm collective observation about life in the major league for most players who aren't big celebrity stars instead of the usual shonen anime fair with some hot shot kid with a dream. I greatly enjoyed every laid-back episode of this show.

How to Keep a Mummy (Miira no Kaikata)

Cute!!! This is probably how I can define every single episode of this quirky pet comedy anime. Whoever knew mummies, dragons, and ogres could make such adorable pets. This was a basic “feel good” slice-of-life series where not much ever happened in each episode but it was such a nice reprieve from real life that the audience wouldn't mind. You didn't watch this for the plot, you watched this to just relax and smile for a half an hour, and How to Keep a Mummy accomplished this goal expertly. 

Karakuri Circus

Karakuri Circus is maybe one of the most underrated anime of the year, and it’s a darn shame considering the attention Ushio & Tora was eventually able to garner. Hopefully Karakuri Circus can one day get the same kind of tight knit following that its predecessor did. And if you couldn't tell already, Karakuri Circus is based off a manga by Kazuhiro Fujita, the creator of Ushio & Tora. Both series share the same well written and fleshed out character writing that Fujita is known for, and for fans of Ushio & Tora there is also the bonus treat of one of the three main protagonists, Narumi Kato, is literally just Tora from Ushio & Tora. The two characters share very similar appearance (when Tora was a human) and have the same personality. The Karakuri Circus anime even went the extra mile by casting the same exact actor for the roles. 

Unfortunately Karakuri Circus has the unenviable job of trying to adapt a weekly manga that is 43 volumes long in just 36 episodes, which means a lot of stuff has to be skipped over, condensed, and simplified, but for those of us who are watching I think we can all agree the studio is doing a great job at picking what to animate. The pace may be very brisk, but it sort of has that OVA kind of feeling to it with how fast it moves. You know, how a movie or an OVA can seemingly get so much story told in just a couple hours versus how a TV show may tell a story over the span of multiple months. Karakuri Circus definitely feels more like the former than the latter. 

Even with its faults however, this anime really shouldn't be as passed over as it has been. Karakuri has the most heart and it’s easily the most ridiculous and fun shonen battle anime airing right now, and that’s saying a lot considering JoJo is airing right now too!

Lupin the Third - Part V

As somebody who was greatly disappointed by Lupin the Third Part IV I came into Part V expecting more of the same, but walked out blown away! This is everything I wished Part IV was, and it seems like the staff really learned from all their mistakes and were able to come together to make a very memorable Lupin series. My favorite has to be all the anniversary episodes that feature Lupin in his old jackets and the animation style changing over to how each previous series was animated. As a long time Pink Jacket Lupin fan I was in heaven, it’s probably been about 20 years since Lupin acknowledged the Pink era! Glad they were able to have so much fun with that particular throwback episode. 

Megalo box

As mentioned earlier, Megalo box is the 50th anniversary project for the Ashita no Joe manga series, and one hell of a fantastic anime to boot. Everything from the animation to the music is top notch and invokes the feeling of the late 90’s and early 2000’s era of anime. It’s both nostalgic and new, and I think that’s a great way to pay homage to such a classic series. Megalo box is its own thing entirely while also reinventing many of the great moments from the original Ashita no Joe like some mirror that both reflects and distorts--it’s Ashita no Joe, it’s Megalo Box, it’s a classic reborn, it’s like nothing you have ever seen before. Megalo box is such a wild ride with thought provoking episodes and a crap ton of adrenaline rushing fights, and I can sing its praises all night if you let me, but the less said about each twist and turn, the better, so I think I’ll leave it at that. Easily one of the best anime in years, and had it not been for Devilman Crybaby it probably would have had my number one spot.

Mr. Tonegawa: Middle Management Blues (Chuukan Kanriroku Tonegawa) 

Mr. Tonegawa: Middle Management Blues is one of those weird spin-offs where you don’t really need to be familiar with the source material because … well it’s barley like the series it spun off of. This comedy centered around the Kaiji manga side character Yukio Tonegawa is best described as office humor, and it’s pretty straightforward with its premise of a hugely important businessman and his daily woes at his job. It’s sharp witted, and pretty funny but I think what made this series special to me was because it was the first “dubcast” anime from Sentai Filmworks I watched on Hidive, and I have enjoyed hearing all these different dub actors each week. I've gotten pretty use to hearing the Funimation and California based dub actors in weekly dub premieres, but hearing Sentai actors is quite something, and damn does this dub knock it out of the park. The real MVP of the show is by far David Wald as the narrator who can manage a laugh out of anyone no matter what the dialogue might say.


Muhyo & Roji’s Bureau of Supernatural Investigation

Muhyo & Roji is a Shonen Jump manga from 2004 that never really got its due credit. The manga was popular enough to maintain its spot in the magazine for many years but it never got an anime until this year. Was it worth the wait? Well, yeah, this is a classic Jump battle horror manga, with some good creepy monsters, and fun battles. I really enjoyed this show and I’m glad Muhyo & Roji finally got their moment of spotlight on the small screen. It brought back a lot of warm feelings from the early 2000', almost like a lost show from back then that I missed!

Planet With

Planet With is weird. It involves a giant cat monster eating a young boy and turning into a super battle robot that said boy pilots and uses to get his revenge on the psychics who protect the earth from evil invading aliens. That’s … sure is something, but it’s just what you would expect from an original story penned by Satoshi Mizukami, the creator of cult hit manga Lucifer and the Biscuit Hammer and Spirit Circle. Just like Megalo box this is a bit hard of a series to talk about without spoiling all the best moments, but just know, the plot twist keep coming, and the game keeps changing, and everything gets more and more insane, and more awesome. This is one hell of a ride, and was also a major contender for my number one spot, personally. It's a show that anyone who enjoys the werid and anyone with a sense of humor definitely has to check out. You may come for the humor, but you will stay for the well written character moments ... and giant cat robot battles.

Skull-face Bookseller Honda-san (Gaikotsu Shotenin Honda-san)

Have you ever worked in retail? Well Skull Face Honda knows your pain! This skeleton man has been stuck working in a book store and has all kinds of stories to tell. This humorous look into the life of book salesmen and the manga market is a fun little series. There’s tons of insight on not just the retail industry but also manga publishing companies as well. It’s a great little short anime that packs a lot of laughs. 

Tada Never Falls in Love (Tada-kun wa Koi wo Shinai)

Tada Never Falls in Love reunites most of the staff from the popular 2014 anime series Monthly Girls' Nozaki-kun, and features a lot of the same kind of humor and characters. It’s a very laid back anime for most of its runtime, which lets the romance bud between the two leads at a more believable pace, and the final payoff is heart wrenching. As someone that has fallen in love with the wrong person in my past, I know all too well how much it can hurt to begin to harbor feelings for someone you know you can never be with and that heck you should never be with. The final few episodes of this series packs such a punch to the gut, and it’s really what won me over.

We Rent Tsukumogami (Tsukumogami Kashimasu)

Did anyone besides me actually watch this anime? It got no love whatsoever and that always bummed me out whenever I watched an episode. It’s such a cute episodic show about a rental store that has tsukumogami, or inanimate objects that have souls and can come alive. Every week a tsukumogami is used to solve some sort of problem in the neighborhood, and it’s just a delight to see how these little dolls, tobacco pipes, and combs can be used to find out everything from cheating husbands, to phantom thieves. Of course the real treat is seeing how all these episodic stories eventually weave together into one greater narrative, and that characters often become reoccurring within the neighborhood, so even after their own episode is solved they still have roles to play within the greater story. You can really tell this anime started life as a novel, it’s so well written. 

BONUS ENTRY: -Biggest Anime Surprises-

Perhaps the biggest surprise for me personally this year for anime was that I actually spent more than any human ever should on the Legend of the Galactic Heroes blu-ray box set. No kidding, this thing haunted me most of the year, and makes for one hell of a conversation starter. “Yeah, I am one of the few 1,000 elite that own Legend of the Galactic Heroes in English, what of it?” I say, while my guest stare at me confused as to what the hell Legend of the Galactic Heroes even is and why there is apparently only 1,000 of it to go around. 

But in all seriousness now, Sentai Filmworks really impressed me personally this year. Their hidive streaming service has become one of my favorite to use this year to stream anime, and I watched so many great classics on it; Legend of the Galactic Heroes Gaiden, Blue Gale Xabungle, Space Runaway Ideon, Glass Mask (1984), Armored Troopers Votoms, Aura Battler Dunbine, and the list goes on. This year was a huge year for streaming classic 80’s anime in large part do to Hidive. And now Sentai/Maiden Japan are releasing a large chunk of these anime on blu-ray which is something I never thought I would live to see the day. You can buy the entire Space Runaway Ideon series on BD right now if you wanted to. What a time to be alive! Perhaps the biggest surprise was their acquisition of Armored Troopers Votoms, a show I wanted someone to license rescue for close to a decade now. I always regretted missing out on the original Central Park Media (man they don’t even exist anymore!) DVD release back in 2001. I always thought it would be Discotek coming to the rescue for Votoms, but you know what, I’m glad to see it was Sentai. The more companies putting classics on BD the better, I say.

I hope you all enjoyed my anime list and have a great new year! Happy 2019!!!

My Video Game Picks for 2018

2018 marks the year I was able to get back into blogging and it has been quite a journey for me. I got to finally do a series for Halloween that I have been wanting to do since my early-20s, and I was finally able to talk about some of my old favorites I've always wanted to write about such as Jinguji Saburo. While personally this was not the best year for me--I was in and out of a few jobs, and that has nothing on my own medical health’s rollercoaster--writing wise, this was one of my best years that saw the most creative output in me since probably my college days. 

For 2019 I really hope I can keep this creative train going, but enough about my own personal stuff, you guys just came for the list, right? Last year I combined my favorite anime and favorite games into one super list, which really was far too long--so this year I thought it was best to separate them into two different lists. I’ll start with my favorite video games of 2018 and then the next blog post right after this will be for my favorite anime of 2018. As always this is just a personal lists, and has no real merit on anything in the real world. I fail to see how I even qualify as an expert! Although I’m flattered if you thought I was! I’m just a hipster with a blog barley anyone reads, so take what you can from that.

A few rules, I am not omnipresent nor am I omnipotent, so I did not have enough time to play every game this year. I may have missed quite a few gems just because I have yet to play them. This could be from a lack of interest or it could just be for a lack of time, there a quite a few games I bought that I want to talk about such as 428: Shibuya Scramble, or The 25th Ward: The Silver Case, but I simply did not get a chance to play them yet. I want to hopefully make up for that by writing an entire blog post dedicated to a few of those I missed next year. I can say with 100% confidence, 428 is definitely getting its own post soon. There’s also my money being tight this year from jumping around jobs. I would love nothing more than to be playing Super Smash Bros Ultimate right now, but unfortunately I've been way too broke to get it! 

Without further ado, let’s jump into some of my favorite games of 2018, in alphabetical order.

Alliance Alive - Nintendo 3DS

The SaGa franchise has really made a total 180 in recent years, it wasn't too long ago that the series was all but forgotten except by a select few, but now in 2018 we’re seeing not one but two games that are heavily inspired by SaGa (and we’re even getting a new SaGa game to boot!). Octopath Traveler got the majority of the publicity out of these two spiritual successors, but I think I personally enjoyed Alliance Alive just a little bit more. It’s tough out there for a 3DS game in a post-Nintendo Switch world, especially tough for Alliance Alive competing with Octopath, but for the select few who got around to picking up this game they got to experience one hell of a send off to the 3DS era of JRPGs.

Dragon Quest XI: Echoes of an Elusive Age - Sony PS4

You better believe I picked this one up as soon as I got out of work the day it was released and played this bad boy all through the night until it was time to go to work the next morning. Dragon Quest XI is just that kind of game. Once you pick it up, it consumes you, it becomes your life. Having a brand new Dragon Quest game after 8 years of almost radio silence from Square Enix (okay, we had a fair amount of spin offs and a couple remakes but I just wanted a NEW main entry so bad) was such a wonderful feeling, like seeing an old friend you never thought you would be able to meet again. Dragon Quest XI is my favorite game I played this year, and I have no regrets saying that. Usually I try to list all my picks for every year in alphabetical order to avoid playing favorites but screw it, this is my favorite. 

Dragon Quest XI is a beautiful game that really pays homage to the entire series and I couldn't think of any better 30th anniversary celebration out there than this. The characters were some of the best in the series, and Horii crafted such an emotionally powerful story. This was a fantastic game from start to finish, and that isn't even going into the post-game content where Dragon Quest XI goes all out on being an anniversary title with some mind blowing moments for long time fans.

Dragon Quest Builders - Nintendo Switch (Sony PS4/PS Vita back in Oct 2016)

Dragon Quest Builders may have already came out once in North America back in 2016, but who cares about that when you can play it on the Nintendo Switch in 2018! So yeah, this may just be a basic re-release of an older game, but I never got to spend time with Builders previously so the Switch release was an entirely new game to me. I never got into Minecraft so Builders is in a lot of ways my introduction to games of that style, and what a game it was. I became obsessed with mining early on in the game and building as many bases all around the world that I could. I got way into this and before I knew it I passed 100 hours in the main campaign. This is such a nice little spin-off I recommend to anyone that may have missed out on it back in 2016.

Jake Hunter Detective Story: Ghost of the Dusk - Nintendo 3DS

Jake Hunter is back after not appearing on American shores for almost 9 years, and oh boy am I ever glad to see him. For the uninitiated, Jake Hunter, or Jinguji Saburo as it is known in Japanese, is one of the longest running Adventure game series that you have probably never heard of. I wrote quite a bit about him just last month actually, so if any of this seems interesting to you, I really recommend giving that a read when you have some spare time. This is one of my favorite Japanese adventure game properties, and I really want to share it with everyone that I can.

What makes Jake Hunter special is how much it adheres to the classic hardboiled detective narrative. This is a down-to-earth series without anything too crazy going on, just a classic 1940’s noir style detective tackling difficult cases in a harsh world. As Jake Hunter says, “No one is ever truly happy after a case.” All detectives can hope to do is figure out something tragic and offer a hand to the victims in picking up the pieces, they aren't magic men. This is a series that works best with a glass of bourbon and some smooth jazz vinyl. I really miss games like these and whenever I play an entry in the Jake Hunter series it reminds me of a lot of old point-n-click Detective PC games that we really don’t see enough of anymore.

Octopath Traveler - Nintendo Switch

So despite what I said about Alliance Alive it doesn't mean I did not enjoy Octopath Traveler, on the contrary, I think both games actually compliment each other. Octopath has a much better ambiance and atmosphere, where as Alliance Alive has much better character interaction and overall story. Had there been a way to get the developers of both games together they probably would have created the most perfect SaGa spiritual successor ever. 

But on to what makes Octopath so great, the effects and the personal journeys. It’s no secret that Octopath is an absolutely stunningly beautiful game. The 2D pixel art and 3D HD backgrounds create a stellar and unique look that carries a lot of the game. I heard people compare it to the N64 prototype of Final Fantasy VII and it really does have that similar kind of design aesthetic to it. It’s just absolutely stunning. But beyond Octopath’s looks is a very unique story approach that just tells eight different personal journeys. There is no evil alien to crush, no shadow organization, no end of the world, these eight tales are all just people’s journeys in this world. It’s far from perfect, and many people were left wishing the characters could interact and their stories would intertwine instead of staying separate, but I really respect an RPG that isn't all about all about saving the world for the ten millionth time.

Phantasy Star I - Sega Ages - Nintendo Switch

So believe it or not, I have never actually beaten the original Phantasy Star. I did get close to doing it in the past, but never seemed to keep my interest in the game to get all the way through. Which is a real shame because this game was groundbreaking for its time. The amount of firsts that PSI in general claimed in just insane, from the first female protagonist to the first use of 3D in JRPGs, it’s a game that has it all. Even the story is a step up from its Famicom brethren Final Fantasy and Dragon Quest. Yet unlike those you rarely see people clamoring to play PSI. 

That’s why I hope with this Sega Ages re-release that this time will finally be the one for me. I really want to beat this game all the way and see the ending credits. The added quality of life features such as a mini-map for the 3D dungeons, an easier difficultly setting, and a new translation certainly help to make this the best version to get into too. I also love the retro CRT filters, personally speaking, as seen above, but those are optional, don't worry.

Pokemon Let’s Go, Pikachu! - Nintendo Switch

Confession: I never played Pokemon Go, despite my best efforts I just could not understand what all the hype was about for that app. Because of this I did not closely follow any news for Let’s Go either past the main reveal, yet somehow I still got the game the day it came out. Maybe it’s my love for the franchise, maybe it’s because of my brother being super into Go and pushing me to get this so we could play together; I don’t really know. But what I do know is that I was having fun playing Let’s Go--a lot of fun actually. It’s weird, but the Go mechanic of throwing pokeballs is actually kind of addicting when it’s not tied to micro-transactions. Catching pokemon hasn't been this fun for me in probably a decade, and I know I just lost the respect of some people for saying that but I dunno, I was having a blast chucking these balls! I haven’t tried to complete a pokedex in ages, but that rush to catch ‘em all came back to me in Let’s Go.

Radiant Historia: Perfect Chronology - Nintendo 3DS

Hey look, yet another 3DS game! Yeah, if you are like me then you weren't quite ready to throw away your old friend in 2018 either despite already owning a Nintendo Switch for almost a year. I never got a chance to really play the original Radiant Historia on the Nintendo DS, so this enhanced port helped me finally experience what a lot of people considered one of the best JRPGs of the DS. I definitely don’t think I would go that far after finally playing Radiant Histroia, I mean the DS was packed with some real masterpieces, I would still put Strange Journey or Solatorobo much higher personally speaking, but damn if Radiant Histroia isn't one great game either way. 

I really enjoyed all the characters, and the newly introduced voice acting that wasn't in the DS version went the extra mile to make the cast come alive. The combat system was great, the time travel mechanic was thoroughly thought out, and the story had me invested--not much else I could ask for really. I have to say though, the original DS endings actually seems kind of crappy though, so I am definitely glad I played this version that got a new (and much better) ending. Although this is all just my own personal opinions.

Shin Megami Tensei: Strange Journey Redux - Nintendo 3DS

Well, well, well, speak of the devil. Yeah, I’m not sure if this was a coincidence or if Atlus planned this, but 2018 marks the year of Nintendo DS remasters by Atlus. Strange Journey on the Nintendo DS was one of the earliest SMT game I ever played, and to this day is still one of my personal favorites, so having an enhanced port of it on the Nintendo DS with more content and a new ending is such a dream come true for me. I was and still am bummed that Atlus did not dub the game for the English release, especially since the voice acting is a key feature for this release and because of the lack of dub I opted to turn it off thus missing out on said key feature, but well, what are you gonna do? Budgets and all. 

This is a great game I really highly recommend to anyone that has missed it originally on the DS, especially if you played the Shin Megami Tensei IV duology, as you really Didi get the full picture yet without Strange Journey.

Ys VIII: Lacrimosa of Dana - Nintendo Switch (Sony PS4/PS Vita back in Sept 2017)

I know what you’re thinking, yup another game that technically already came out earlier but just came out for the Switch in 2018. Maybe I am cheating this year by including games like these but well, I’ll let you be the judge of that. What matters here though is that I loved playing this game in 2018 and I just want a chance to shout about it!

Ys VIII initially threw me off, as one of my favorite things in the Ys series has always been all the cool landscapes and ruins Adol can explore, and learning everything about the native culture and people there, so having a game set entirely on a deserted island felt like a misstep, but boy was I wrong. The Island of Seiren turned out to be one of my favorite locations in the Ys series that truly feels alive, like it’s almost a real place. You get such a sense of everything exploring the island in this game, that it sticks with you. Not to mention the village building mechanic ended up being a ton of fun. Finding all the NPCs and getting to know them really gave Ys VIII a unique charm compared to other entries in the series and suffice to say all the characters were excellent. Uncovering the dark secret of the island and its now lost people had me engrossed pretty much the entire way through. There’s a lot more going on here than what you initially are lead to believe. 

By the end of the game I was sad to finally leave the Island of Seiren, but Adol Christian can never stay in one place for too long!

BONUS ENTRY: -Game of Yesteryear-

Last year I added a bonus section to my picks for game of the year that was on my biggest gaming disappointment of 2017--so for this year I think I should do the opposite and add a bonus section on something more positive. 

I figured since I am already here and since I already wrote about so many games from previous years with my excuse being that the game in question was a port, remaster, came out in the US in 2018, or downright just the same game but came out on Switch in 2018 now, I am already pretty deep into pre-2018 anyways. So here’s one more bonus game, one that no matter how much I tried to BS it into the list I had to admit it had nothing whatsoever to do with 2018. A game that may not be 2018 material but a game that you should play nonetheless, I know I did, and it was one of the best gaming experiences I had in 2018, falling only a little short of my favorite Dragon Quest XI, that is. 

So, once again, without further ado, here’s the last game I played during 2018 that I wish to share with you all tonight.

Danganronpa V3: Killing Harmony - Sony PS4/PS Vita - 2017

The Danganronpa series was always a complicated one for me. I really wanted to like the series a lot more than I did, but I could never seem to like it as much as everyone else. And that’s the key word here, because I certainly liked it, but I just didn’t like it as passionately as most others seem to. I found a lot of faults with the writing and character, and honestly some of this stuff is just a bit too much for me personally. The game play though was always so darn good, and while I may not had enjoyed every chapter in past games, the overarching story in said games were always able to keep my interest for the most part, some too chuuni moments for me aside, and I was able to power through those chapters. It’s because of that, and many more reasons, that I missed out on Danganronpa V3 last year when it came out new, something I finally got around to correcting in 2018.

What makes Danganronpa V3 so special to me has to be that the game is incredibly self-aware of most of its issues. V3 is the third mainline entry in the series, and counting spin-offs like Ultimate Despair Girls, and the Danganronpa 3: End of Hope Peak Academy anime series, the franchise has pretty much done everything it could by this point. A bunch of students being trapped in a school forced to kill each other in some twisted game pretty much went from a super interesting premise, to a super old one, and the staff behind V3 were well aware of this. No matter how good a franchise may be it will inevitably suffer from franchise fatigue, and by this point Danganronpa was pretty much a limping, wounded deer. 

So instead of reinventing the wheel and risking upsetting long time fans, the staff behind V3 pretty much did the next best thing and intentionally jumped the shark. They went places they never went before, they did things that were so weird, and so out there, that it brought back a lot of the magic of the franchise’s early days. By the end of the game the level of self-awareness was pretty much off the charts that the game practically trolled you--even going as far as insulting you for why you still like these games in the first place. And I loved every minute of it. It’s hard to talk about the final hours of the game without ruining some of the best surprises, so I’ll try not to say anything too revealing, but at one point, the game even reached maximum meta, and the only way to win was to put the controller down and stop playing it. It’s really great stuff. 

Happy New Year's everyone and I hope you all enjoyed this silly list of mine!