Scarlet Nexus – Episode 1
It seems that Scarlet Nexus is a fairly popular game, but as of this review, the premiere is basically “OK.”
It seems that Scarlet Nexus is a fairly popular game, but as of this review, the premiere is basically “OK.”
Godzilla, the legendary cinematic kaiju, has stomped his way onto Netflix in a brand new incarnation co-produced by studios Bones and Orange.
No one has ever asked whether Samurai Flamenco is good, because the question is a loud and simultaneous “no” and “yes.” But the question of whether it “counts” as queer romance has waged on for eight exhausting years now. Incidentally: yes, it does.
With a cast mostly of “dangerous criminals” identified by the crimes they’ve committed instead of their names, I assumed Akudama Drive’s dystopian setting would act as little more than set dressing in a story that ultimately reinforces, rather than challenges, the stigmatization of criminalized people. I have rarely been happier to be proven wrong. Echoing the calls of the prison abolition movement, Akudama Drive delivers a powerful and subversive statement against the criminal legal system, one that goes beyond slogans like All Cops Are Bastards and questions the basis of our conception of justice.
The initial premise promised colorful heists alongside an interesting story, but it ultimately failed its characters of color.
No More Heroes is able to distill my biggest issues with the anime scene, mocks those who defend and perpetuate its shittiest elements, and makes me hopeful that things can improve by having Travis embody and then question his identity as a scummy anime nerd.
Caitlin, Dee, and Mercedez fight their final battle and look back on Angelic Layer as a too-rare example of women-led sports anime.
Looking at this series through an economic lens reveals yet another layer of interpretation: a story about the cruelty of business models that profit off the worker’s suffering.
From 2007 to 2011 or so, Kyoto Animation’s multimedia juggernaut dominated most aspects of Western anime fandom. Whether getting stormed by a “Hare Hare Yukai” flash mob at a con or debating the “correct” viewing order online, you couldn’t escape the series’ sizable cult of personality. When watched today, it’s still easy to see why the small show left such a big impact. Yet for all of its still-endearing charms, Haruhi is plagued by foundational cracks that consistently threaten to undermine its core strengths.
In the discussion surrounding queer representation in fiction, things are not always so simple as stamping a work with “good rep” or “bad rep”. While the series is not perfect—or perhaps because the series is not perfect—Land of the Lustrous makes a useful case study for reading and critiquing through a queer lens.