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  • Jack (25)
  • March 18, 1995
  • Lives in United Kingdom uk
Comments
77
hello my big white friend
hello my little yellow friend
Parent
sup fumble?

i'm avi tomorrow :))) pls can I play for once with you, or atleast trial :((( it has always been my biggest dream
okay IceQ, firstly sup? secondly you may play with me on a trial basis.
Parent
yep im done with you
you little cunt
Y U DO THIS TO US FUMBLE :'(
Y U DO THIS TO US FUMBLE :'(
Y U DO THIS TO US FUMBLE :'(
Y U DO THIS TO US FUMBLE :'(
Y U DO THIS TO US FUMBLE :'(
1st 2014 comment on your wall !
Congratz, Sup IceQ?
Parent
Quote by 3 November 15:12Still no sign of fumble.
I dunno if im ready man
Parent
Good effort fumble.
fumble, will you be my waifu?
Get online!
Parent
If I wasn't online, how would I be able to comment?
Parent
OMG FUMBLE, BIG FAN HERE, CAN I HAVE YOUR CFG?!
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SEND THIS TO 6 PPL OR SKELINTONS WILL EAT YOU
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Parent
sup chelsea?
What's up Jack?
gl in Team UK British sqzz.
Cheers, I've been practising my wushu!
Supski?
Parent
Knock Knock
get online!
Parent
sup DragonMaster95?
very good, come teamspeak buddy!
Parent
supski?
sup IceQ, get on ts!
Parent
Ah yes. here we go again with the typical Jesuit Illuminati Satanic themed torture / sex slave mind control crap again.

They want to make us believe that lie of Satan's that somehow we are evolving into gods. This is a lie from the garden of Eden when Satan tried to convince Eve that if she ate of the forbidden fruit she would be like a god knowing good and evil and that she should surely not die. Question: Did Eve become a god? No. Did she die? Yes. So was Satan a liar right from the start. And nothing has changed. He and his human agents -,the Jesuits and the elite - the bankers ie Templars, and Bushes, politicians and the Catholic high Freemasons are still being tricked by this fallen angel and his crownies. And because Satan in his conflict over Jesus claims himself over God wants mankind to capitulate and give in. This is why Hollywood has put out a string of Satanicly inspired garbage that elevates man over God - movies like The Xmen, the Silver Surfer, the Vampire films, Spider-Man, Superman and basically any film where men have superpowers. These films convince us that man is evolving into gods. But that's not what the bible says. Oh wait. You don't believe the bible right? Well you should. Because every word in it is from God. Jesus is real. And He is coming back very very soon. Wait...wait, wait, wait, stop!! Prove to me that God exists - that the bible is the unerring word of God you say. Answer: prophecy. The bible predicts the world's events and the coming of the Messiah Jesus Christ precisely as it happened. Jesus Christ is God in the flesh came to earth precisely on time as predicted by Daniel 9:23-27. He fulfilled ALL of the prophecies concerning the Messiah the odds of which any man could have fulfilled is more than 1 in 1033 or 1 in 1000000000000000000000000000000000! Two independent secular Roman historians Josephus and Tiberius record the crucifixion of Christ under Pilate on two separate tablets confirming the events of Christ's most precious sacrifice for mankind. If you don't believe me, look it up. By the way, the pagan Rosicrucians (Satanists/Luciferians) and the Rabbis don't want you to know this so they have placed a curse on anyone who reads Daniel 9:23-27. So what is going on here? How are these people being tricked in sacrificing children to their stone owl god called Molek at the Jesuit run Roman Catholic Church owned Bohemian Grove where you can hear the child scream when they ignite the flame fire (search Alex Jones Bohemian Grove)? The Jesuits and their friends ie high Freemason leaders from business, politics and military are being led to believe THEY have these powers. But the power is not theirs. It's being made to seem like they have these powers but they don't. It's all from demonic forces - fallen angels who want us to make us think we have these special god like powers. Any from a witch's magic spell, clairvoyant vision, aura reading, astral travel is all demonic and a farce. Now am I saying these powers are not manifest or real? No. No, what I am saying is that these powers are the work of unclean spirits - fallen angels who use their power to make us believe it's us that are turning into gods. But it's not. It's all a trick. If you want confirmation of this fact simply check out Dr. Walter Veith Occult Explosion, Roger Morneau - A Trip Into the Supernatural and others like Eric Jon Phelps. The truth is God loves us dearly! And he wants each and every one of us to be saved - to give up sin and ask Him for forgiveness of all of our sins. What is sin? It's the transgression of the law - Exodus 20 - the Ten Commandments. But Satan hates God - hates Jesus and because he knows God loves us, is doing everything he can to destroy us by making us sin against God through temptation. Prophet Ellen White says that the Devil tempts us and when we sin, he is the first one to point out to God that we have transgressed the law and that we deserve to be destroyed. But our loving God in mercy has sent His Son Jesus Christ to pay the price for all our sins! Imagine that! The very Creator of the Universe came down to earth in human flesh sacrificed himself for us so that you and I could be redeemed. That is how much God loves you - He died for you! And He didn't have to ... He could have let us perish...but He didn't ! And thank God for that! This world is under attack by Satan in His plan to take over the world through the New World Order. He hates how God lovingly created us male and female and gave us the ability to partake in the creation of life with God - something He never gave to the angels. And Satan hates how God gave us dominion over everything on the earth. This is why Satan wants to destroy the family through homosexuality, sin, drugs, and idolatry and spiritism. It's why in California Satan has succeeded in having the agents in govt pass a bill erasing gender differences between men and women - boys and girls. Yes, they are actually teaching these kids gender generic terms - it's crazy!!!! Under the occult run UN (yeah, I wish I was making this up!) they already have plans to make 80% of the US off limits to humans. Under Agenda 21 they want to cart the populations of Americans into six city zones. There, we will be stripped of our individuality and independent thought and made mind controlled slaves much like the people in this video, at the mercy of the wicked Satanists who believe his lies - sacrifice children, rape men, women and children and then torture them as they did during the dark ages inquisition. Oh but wait, that's right the inquisition never happened?! Right! That's why Up until just a few years ago the Vatican - headquarters for the Jesuit Illuminati - still had an office of the inquisition. You know when I went through school they told us that a few hundred witches were being burned at the stake for their involvement in satanism....but the truth is that it may have started out that way, but they quickly turned things around to include bible believing Christians and Jews. Expert secular histories estimate that during the reign of the Papacy where she influenced the state she raped, pillaged. murdered and destroyed more than 100 million innocent men, women and children many of which their crimes was to own a bible. The Roman Catholic Church asked the world for forgiveness for these heinous crimes when in 2000 Pope John Paul II - who used to sell poisonous gas used to kill millions of Jews and Protestant Christians at German concentration camps on behalf of AG Farben - asked for forgiveness on behalf of the priests that carried these wicked crimes out even though the Papacy was behind it from day one. The bible calls the Roman Catholic Church the Beast of Revelation because she has made all the nations drink of the wine of her fornication (apostate ungodly doctrine). The Pope is the AntiChrist that will bring the world to ruin because in Revelation 13:2 we are told that the Dragon(Satan) gives him his seat and great authority. The Papacy or Pope is called the Son of Perdition - a term used only twice in the bible. Once to describe Judas who professed to love Jesus on the outside but on the inside would seek to betray Christ. The Papacy publicly professes to love Jesus but secretly we know from what she does to man through war, sacrifices (go to ITCCS org) and it's claim to rule over God here on earth that this system truly is of the Devil. This system that claims to forgive sin, that claims to be God (yes the Pope has claimed to be God on earth) that claims to take the place of God commands us to worship the dead - Mary and the saints - has actually changed God's times and law! Yes - the Papacy actually changed the calendar and the Ten Commandments. Watch Dr. Walter Veith - The Wine of Babylon, A Woman Rides a Beast here on YouTube. This is against what God says we should do. God wants us to come to Him in prayer. We serve a living God! Not a dead one in a piece of bread - how silly! As a Roman Catholic I was told all this and I believed it. Because at the time my entire family were Catholic. I mean if they were following it then it must be biblical right? It must be of God right? Wrong! I found out that all of the church's doctrines are unbiblical - there is no such thing as purgatory in the bible, no such thing as immediate life after death where our soul leaves our bodies. This is as lie of the Devil to make the bible and God's word a lie. But I am here telling you don't believe it. Believe in the Most Worthy Lamb of God Jesus Christ who in the highest price Heaven could pay came down to earth to show that He is gracious, wise, kind, long-suffering, always willing to listen, always caring watching over us, long suffering, compassionate, and infinitely full of love and forgiveness! His law is love! And He is coming very very soon! And He wants us to know that in no way will He allow the wicked to unjustly trample on the law of His Father. He wants us to come to Him to relinquish all of our troubles on Him. Oh how we serve a wonderful loving God! He never pushes Himself on anyone unlike our great adversary Satan. He wants to get to know you before probation closes and the great seal on the ark of salvation - His work in the Holy of Hollies - pleading for forgiveness of our sins before the Father - is closed forever. Because after probation is closed judgement of the righteous is complete and any names in left in the Book of Life remains those of us that follow the Lamb where ever He goeth. Don't you want your name in the Book of Life? I don't know about you but as for me and my house we will serve The Lord God - the Almighty God - the Creator of everything therein is including us! Discover as I did that the word of God is truly the word of God! That's God's promises are yay and amen. That God truly does exist and wants to develop a relationship with you! To help each and every one of us leave this virus called sin behind so that we can leave this planet unto Heaven to live and reign with Christ a thousand years.

Very soon the 2nd Beast of Revelation - a nation that spoke like a Lamb but ends up Speaking as a Dragon - the United States will force everyone to worship the 1st Beast of Revelation - the Papal run Roman Catholic Church and Satan under a National Sunday Law! This is the Mark if the Beast - Sunday Worship! And this National Sunday Law will make it a crime for anyone to worship on any other day except Sunday! But is Sunday the true Sabbath of our Lord God? No! It's not. The Seventh day of the week is Saturday not Sunday. On Sept 1, 1923 the Roman Catholic Church published the following excerpt from their London Ont publication entitled The Catholic Record says " Sunday is our MARK of Authority. The church is above the bible. And the transference of Sabbath observance from Saturday to Sunday is proof of the fact.' Sunday is the first day of the week. In times past pagans would sacrifice their children to the sun gods. This is Satanic! We should have nothing to do with this or any other pagan holiday including Christ-mass, Ishtar / Easter, Halloween or Valentines Day!
I have vivid dreams all of the time about anime characters. I fall in love with characters in anime (literally). I much more enjoy the personalities. I'm speaking my mind when I say that I find the girls in animes personalities to be much more attractive than in real life. I am kind of depressed sometimes because I desire so strongly for my life to be a fictional world. I'm not sure if this is leading me to a bad place, all I can say is that sometimes I have these great dreams that won't go away. Last night I had a dream that I was in a group with two anime-friends, one named Shiori (name from date-a-live but looked like the red-head girl) and a taller, more beautiful version of the blue-haired girl that wasn't too smart but very cute. I was texting the red-head on my phone I was worried that the blue-hair hadn't talked for a few days and was wondering if she'd snap or something. We were in an alternate, kind of dangerous universe. I remember there was a bathroom I entered with ratings from other players? or something of the sort. For some reason and I kid you not... sometimes the shits would manifest themselves with teeth and jump at you or whatever, and two of the stalls were filled with shits, so I went in the stall with only one shit (and didn't flush beforehand...). We were striving though a game-like world where if you entered the cieling that was made of white cieling tiles, you could somehow die. But for some reason we found a dead end and conclused that somehow the maze creator found a way to simulate this and ended up taking the risk traveling through a cieling to get to our next area, which looked like an esophagus with lots of monsters at the end that I couldn't make out because they were blury but my brain assumed they were weak. We ended up deciding not to go on and went back to the "spawn area" of the world which was a bunch of desks and cabinets around. We could open a portal back to our town but we had to be careful because if anything followed us it could prove dangerous. I almost brought a blue pony back in my arms and shiori shut the door on me because she didn't want anything else to get through, i had to open it and step back into the world. I kept trying to read our text conversation but when I opened drawers in the spawn area I was afraid of something manifesting out of them so it was kind of scary. The world was like a downward tube. Anyways, my dreams just seem awesome but sometimes make me sad. This is the first time in a while I haven't smoked pot for around four months except for a single day, so I've finally got my REM sleep back and have really been trying to remember my dreams the next day. Life is just so plain, I work my ass off all the time and at the end of the day I'm still not satisfied with where I am at. I am going to start drawing because I hope that it will be a mind-relaxing experience that will allow me to draw some of my favorite characters eventually. Besides that I don't have too many hobbies. I'm going to join the anime club when I return to college in 5 weeks. I just don't know how to be happy without anime. I want to live-breathe it. I want an anime girlfriend ...
Omg hai __^ I’m IceQ and I absolutely luuuv @_@ ET <3 and my fav team is supski!!! Okies so anyways, im going to tell you about the BEST day of my life when I met my hot husband FUMBLE!! <333333333 OMFGZ HE WAS SOOOOO FREAKIN KAWAII IN PERSON!!! Supa kawaii desu!!!!!!!!^___________________________________^ When I walked around on frostbite =____ ^^^=I looked up and saw…FUMBLE!!!!!!!!!!!!!!! <33333333333333333333333333333333333333333333333333333333333333!!!! “ KONNICHIWA OMGZZZZZZZZZZZZZZZZ SUPA SUPA SUPA KAWAII FUMBLE!!!!!” I yelled n____n then he turned chibi then un-chibi!! he looked at me [O.O;;;;;;;;;;;] and then he saw how hot I am *___* he grabbed my hand and winked ~_^ then pulled me behind the transmitter o_o and started to kiss me!!!!!! [OMG!!! HIS TOUNGE TASTED LIKE RAMEN!!! RLY!! >.> <.< >.< (^O^^) (^O^^) (^O^^) ] then I saw some baka fat bitch watching us and I could tell she was undressing him with her eyes!!!!!!! [ -________-** ;;;;; OMG I COULDN’T BELIEVE IT EITHER!!! (ò_ó) (ò_ó) (ò_ó)] so I yelled “UH UH BAKA NEKO THAT’S MY MAN WHY DON’T YOU GO HOOK UP WITH TITES CAUSE FUMBLE LOVES ME!!! (ò_ó)” then FUMBLE held me close =^= and said he would only ever love me and kissed me again!!!!!!! ** (O)/ then we went to his apartment and banged all night long and made 42 babies and they all became professional et players !!!!!!!!!!!!!!! Nyaaaaa!!! (^__<) **____________;;;;;;;;;;;;;;;;
this isn't an anime review, I am disappoint son...

Ore, Twintails ni Narimasu


Prologue: Just a dude looking to get better at reviewing/analyzing anime. I hope you enjoy the review and the discussion that follows! Critiques are welcome.

It protects one's scalp from the sun, it comes in all shapes and sizes, and it has regenerative capabilities; of course, I am talking about hair. Whether we like it or not, hair is an essential part of who we are and how we live. There are products devoted to it and establishments entirely about removing it in a cleanly fashion. For those that have it, it is resting peacefully atop our heads. Sometimes, people do their hair up in fancy designs. One of these styles is known as the "twin-tail." In Ore, Twintails ni Narimasu, "twin-tails" isn't just a hair-do; it's a way of life and a source of unimaginable power.

STORY

Twintails stars Souji, a high school boy with an incredible fascination with "twin-tails," a type of hair style. One day, he is visited by the mysterious Twoearle. After receiving a bracelet from her, Souji becomes the famous TailRed, a fighter of evil and champion of "twin-tails."

It is impossible to argue the utter ridiculousness of the premise. It's an adventure not just about twin-tails, but about all strange fetishes. To this end, everything contained within is a massive parody. The enemies, the battles, the drama, the characters; all of it is taken lightly, and subsequently looked at in a comedic manner. Enemies are almost always defeated in a single move, archetypes are pounded into the ground, and the abilities of the girls are extremely silly. The parody works because it casts its net wide. In fact, one could interpret what goes on as Twintails presenting an elaborate take on the current state of the medium. That it is filled with an overabundance of sexual preferences that infect and detract from what anime truly has to offer, but the only way to be rid of them is to inject yet another fetish, perpetuating the cycle, and thus causing it to never end. Or it could all be for fun.

While Twintails may contain some actual literary merit, it does suffer a terrible fate. Mired in repetition, many of the events are the exact same in nature. New bad guy shows up, TailRed battles, ideals clash, and TailRed wins. That is the extent of the anime. It seems as if the strong parody that the show demonstrates would be lost among such boring writing...but once again, there's a catch. The repetition is prevalent and blatant not because there was nothing else to do, but is instead another statement about the anime industry. Season after season, similar stories are pumped out, with the exact same types of characters, settings, and plot devices. Nowadays, there is a large lack of innovation or risk that is taken, simply because "don't change what isn't broken." Then, when something does come along that tries to shake up the formula (say, Twintails), it goes down in a blaze of glory, signified as being trash, and subsequently being trodden underfoot by the "new" wave of anime it attempted to thwart. Or it could just be directionless and misguided.

Disregarding the warranted or unwarranted extrapolation, the anime does do something for sure: tackling the idea of having a passion. Ultimaguildy are the villains, but only when they attempt to place their beliefs upon others. Going further, the victor in every battle is the one with the strongest passion. Therefore, Twintails is attempting to relay the message that one can believe fervently in anything (religion, hobbies, etc.) as long as such beliefs do not impose or bring harm to others. At the same time, such a passion shouldn't consume oneself; there exist other parts of life that are worth investigating or having. This is bolstered by the final deus ex machina, and wraps up the show's message in a concise manner befitting of its previously established parody.

ANIMATION

While the analysis of Twintails's story is debatable, the quality of its art and animation is not.

The art for the show is largely uninspired. The world is often bland and devoid of life, mostly sticking to common backgrounds such as outside of school or on a rocky cliff. Lighting effects are nearly nonexistent, and many times the art itself dips so low in detail that it appears unfinished.

The character designs suffer the same fate. Boring regular outfits, plain faces, and the same missing detail as the art make them unappealing. Their only saving grace is in their twin-tails and their transformations, and the varying amount of baddies.

The final nail in the coffin arises from the animation. With minimal character movements at all times, with dialogue being spoken with mouths only, it doesn't look pretty. Coupled with the fact that the battles reuse the same scenes and that the choreography involved is stale, it makes the entire experience a slow but deteriorating death.

But is this really not debatable? The analysis in the previous section demonstrates that Twintails may be smarter than it is perceived to be. Is there some deeper meaning to the show's descent into terrible quality? The short answer is, no. It's just not done well in the slightest. The pretentious answer is, maybe. Twintails's devolution from an okay looking anime into a complete mess could be a depiction of the anime industry's downward spiral towards mediocre and generic looking shows, where uniqueness and innovation can never emerge. A big "maybe," but more food for thought.

CHARACTERS

The cast of Twintails are mostly stereotypes, which at this point, should be obvious. However, that inkling feeling rises again....

Souji is the main character, and the boy with a passion. His love for twin-tails knows no bounds, thinking of them first and his person second. He embodies the spirit of TailRed, holding the same fiery and burning desire that she is known for having. The only character to experience any semblance of growth, he is still the typical good guy, being the love of everyone's life. Souji represents the idea that it's okay to question your convictions, that there are moments where one needs to take a step back and look at the bigger picture.

As Souji's childhood friend, Aika has a lot to overcome. Violent yet caring, beautiful yet ashamed of her body, she very regularly clashes with Twoearle in her pursuit of Souji. As TailBlue, she utilizes water. With calming waves and tumultuous torrents, her personality shines through her fighting style. What's interesting is her constant inability to take teasing about her bust size, despite Souji not caring about that when it comes to women. It's seems like an unnecessary insecurity, but this characterization follows the same motif; water always wants to conform to its surroundings. Even so, she serves as an example that it's best to be comfortable in your own skin, and not worry about what others may think of you.

Twoearle not only has a strange name but is also a strange character, too. Seemingly from another planet, her silver hair, large boobs, and invasive personality make her a standout person. She actually provides a lot of the comedy with her playful behavior and sexuality. Having lost her Attribute, she relies on Souji, Aika, and Erina to do what she could not. If anything, she signifies that despite not having intense dedication towards an aspect of life, one is still able to find joy and happiness in other ways.

My personal favorite from the anime, Erina is the student council president. Proper and unquestionably kind, she seems like a normal, everyday young woman. But she actually harbors a secret; she's a huge masochist. Her transformation into TailYellow demonstrates this clearly: growing slightly taller, gaining larger breasts, and developing wider hips, she becomes an incredibly sexy figure. Her abilities incorporate both exhibitionism and electricity, allowing her to go through the torture she desperately wants to give her the power she needs. Erina serves as a reminder that it's okay to indulge (within reason!) the passions we have, because we all need a little pick-me-up from time to time.

As always, there is a need to see more to this part of the anime. What do the characters mean behind the archetypes they exemplify? How are they used as a satirical outlet? It's harder to see but the answer is there: each of the characters has to be something they wish they weren't. Souji turns into a girl, Aika has a flat chest, Twoearle lost her twin-tails, and Erina acts elegant. Even Dark Grasper maintains a cool and evil persona that masks her reserved and awkward self. The purpose of the characters, then, is to bring to light the idea that anime is currently in a state of self-denial. It's in a predicament where it doesn't fully know what it wants to be: forced "moe," extravagant fan-service, and generic adaptations have become the norm, not because anime necessarily wants it to be that way but because it can't be any other way. It may want to escape from the corner it has backed itself into, but such radical changes require extraordinary happenings.

SOUND

The OP starts very light and jumpy, with guitar and piano playing in harmony. The song picks up half-way, with the vocalist singing along well with the beat presented. It contains a strange break where the song loses tempo, but ends on a nice guitar solo.

The ED is actually pretty good. It's quite catchy, with the vocalists singing individually and in unison. The beat and guitar pick up halfway through once again, with the guitar and drums working together to make it a nice little jam. Again, the song ends on a fun little guitar riff.

The soundtrack contains typical pieces: triumphant arrangements, happy-go-lucky beats, and violin, choir-singing tracks for those tense moments. Nothing original, but they work well in their respective moments.

Voice-acting sees average to above average work across the board. A special shout-out to Maaya Uchida as Twoearle, Sumire Uesaka as TailRed, and Chinatsu Akasaki as Erina.

One last time, we need to put on our "read between the lines" glasses. Does the sound-work follow the same trends as everything before it? Of note are the opening and ending songs: both are generic, both contain nonsensical lyrics, and both follow the same song pattern. Twintails, then, is aiming to show that music within anime has become a breeding ground for ridiculousness and unoriginality. Just trying to be catchy, with the slow build-up followed by the song picking up in the middle, is easy; it's a cheap trick that many shows employ, because it works.

ENJOYMENT

At this point, I need to present a question I brought up in one of my earlier works: at what point do my analyses go from being interpretations of what the anime was doing to trying to justify and look for answers? I'd like to think that the show was more than just a bunch of twin-tailed girls flying around. I want to believe that some of what I've said is correct. After all, there is evidence for a lot of it. Sure, the "Animation" and "Sound" ones are rather weak (I fully admit that), but there is logic behind those from "Story" and "Characters."

It's a difficult dilemma, because where does one put his or her foot down, where does one draw that line in the sand that says, "Up to here is what they meant, and no more." Does that line exist right from the get-go, or does it appear somewhere in the middle? I'd hope that it's the latter.

For something like Ore, Twintails ni Narimasu, it will be seen by many as just another random show that only anime can pull off. But behind the twin-tails lies a satirical work that challenges what anime currently offers, even if the execution isn't fully apparent.

SUMMARY

Story: Fine, parody, repetition with purpose, thematic

Animation: Bad, bland art style, okay character designs, low actual animation

Characters: Good, TailRed, TailBlue, TailYellow, and Twoearle represent more literally and figuratively

Sound: Fine, okay OP, good ED, okay soundtrack, average VA work

Enjoyment: Good, a hidden satire

Final Score: 5/10

Epilogue: Thanks for taking the time to read my review.

Is It Wrong To Try To Pick Up Girls In A Dungeon?


Prologue: Just a dude looking to get better at reviewing/analyzing anime. I hope you enjoy the review and the discussion that follows! Critiques are welcome.

I think it is pretty typical for people to have a role model. It might be someone who is always around us, like a family member or a close friend. Or it might be a celebrity or athlete who, while not having direct impact on another’s life, manages to affect countless others by simply being. For me, it is my father. He provides for his family, he works extremely hard, and he always, always wants only the best for his kids. Something simple he does that I hope to replicate is, during Christmas (we call him Mr. Christmas because he gets so into it), he wraps the base of the trees around his house with green lights and the branches wrapped in red and white ones, so that they become trees of lights rather than simply trees with lights. He is someone I will never fail to look up to, and will always aspire to be. Is It Wrong to Try to Pick Up Girls in a Dungeon? is actually a rhetorical question, with it instead focusing on this kind of inspiration, providing its audience with a less than stellar anime.

STORY

Dungeon (the shortening of choice from here-on-out) stars Bell Cranel who has just recently been recruited into the goddess Hestia’s “Familia.” One day, he is saved by Aiz Wallenstein, a legendary woman both in beauty and swordsmanship, which inspires Bell to become someone of her caliber.

The show finds some success in its theme on inspiration through the use of role models. Here, in Dungeon, people look up to (or down on) others as a means to assess their own prowess because the benchmarks for what is strong and weak are defined by the people partaking in the tower runs, arena battles, and tavern visits. So the anime depicts these kinds of scenarios to demonstrate how someone becomes better due to the way another acts or carries themself. Bell looks up to Aiz, so the latter goes about training the former; after witnessing Bell’s impressive abilities, members of a guild push themselves harder; and Hestia, seeing her precious family member work so fervently, causes her to do the same, laboring herself to support him. At the same time, the anime also looks at the darker side of inspiration, namely obsession and revenge. Half the reason why the events of the anime take place are due to outside influences caused by a being who, for better or worse, is infatuated with the young lad. In other words, she is so taken by him, so inspired by whom he is and what he can do, it causes her to unleash a rampaging goliath and an extraordinary Minotaur that disrupts the everyday flow. There are also segments where Bell becomes the target of undue hate, turning into a kind of anti-role model. In these moments, people become inspired to conspire against him because of his trustworthiness and status where they trap him with monsters and kidnap Hestia, respectively. Inspiration is normally good, but can often times be used for bad intentions, with the anime covering both handily enough.

Dungeon begins to suffer when one looks beyond the theme that is woven throughout. Most notably is the anime’s complete lack of world-building. There are many aspects to the world that are presented: a leveling system, magical spells, a huge tower for questing, a banking system, armors, weapons, varying classes, special abilities, diverse races, a political game of godly proportions, etc. Yet nothing within this list is properly explained despite the anime relying on such facets time and again. Not taking steps to flesh out the setting – especially one steeped in fantasy and fiction – makes it unnecessarily difficult for the audience to be engrossed by the show that needs to make its world distinct and, to an extent, understandable.

There is also a glaring issue with the anime’s attempt at a harem. Now, a harem is, like any “story-telling” element, not automatically a negative so long as the execution of it is noticeable. In Dungeon, the harem aspect serves little purpose outside of detracting from the narrative and its goals. One major problem associated with the harem is how it reduces the authenticity of the “romance” being established between Aiz and Bell. It is clear through the anime’s events that these two are the staple couple, so when more and more women are added to the mix, the most important relationship is weakened. The harem also does not influence what happens at large; besides being used for the same jealousy joke, this aspect of the anime does not affect the fighting that occurs or the direction of the plot. A possible reasoning for having the harem in the first place is because it would seem to follow its own theme of role models. That is, the women look to Bell as someone worth striving for. Unfortunately this has more to do with affection rather than inspiration, since the girls are not necessarily looking to be like him but rather be with him.

Overall, the theme of inspiration is explored nicely enough but the lack of proper world-building and the misused harem bring the entire package down.

ANIMATION

As if to continue with the anime’s difficulty in crafting a believable world, Dungeon missteps once more when it comes to its art. Again, the problem is foregoing “explanation,” or in this case variety. The dungeon-tower that is investigated daily starts to blend together after a certain point with the same, boring rock formations and color palates. The main city is no different; outside of the bank and the tavern, very little of the area is explored besides what is seen in an intercity scuffle. The most prominent location is Bell and Hestia’s home, but even there it is a bed and a table only.

Dungeon does manage to do well with its fight choreography, showcasing easy-to-follow battles and a plethora of combinations between many of the different characters. The character designs are likewise well-composed, with Bell looking like the innocent boy he is portrayed as being and Ryu’s elven robes signifying her beauty both of body and swordsmanship.

Actual animation also manages to remain above average throughout the season. Facial expressions are quite detailed, as are the movements of the characters both inside and outside of the battlefield. Bell’s fight with the Minotaur was particularly impressive in this regard.

CHARACTERS

One of Dungeon’s biggest problems is not setting up an appropriate antagonist. The person poised to take this role was Freya, the woman scarily obsessed with Bell, but not only is she never looked at in-depth after her introduction but she is so far away from the happenings – she uses pawns and tricks to do her bidding – that the anime makes it inherently impossible to develop or at the very minimum characterize who she is. By not having an antagonist, it confuses the audience about what Bell is fighting for and, more relevant, who he is fighting against. In this scenario, it becomes “Bell versus the world” which introduces even more faults. As has been established, the world of Dungeon is not provided, meaning making it the main adversary is silly since, like Freya, nothing about it is known. Along the same lines, this kind of thinking does not fit with the show’s theme on inspiration. The setting might be seen as something that inspires people to fight for or protect it but Bell is never depicted as doing this. Instead, he is more concerned about the other inspirations in his life, with the world being more or less an afterthought.

Arguably the strongest character of the anime is Liliruca. A young, cat-like girl of small proportions, she had grown up to despise the humans that wronged her. Similar to her fake ears, she would come to establish a façade that hid her vile behavior behind the kindness and sweetness she regularly dished out. She would steal, she would lie, and she would deceive anyone around her to get her way, even Bell, the first human to show her the empathy she needed. This should not be taken lightly; he was not exempt from her antics because, as it was shown, it was a deeply-rooted issue that manifested in her past and continued into the present, which made her conclude that the future would likely hold the same outcome. It is not until she completely betrays Bell, is left to die by her other harassers, and is eventually saved (both physically and mentally) by the boy who she wronged for so long, that she breaks down hard. She bawls, weeping over the terrible actions she took and crying from finally finding someone who truly cared for her. Seeing her move from despondency to elation, from child to adult, due to the inspiration she received from Bell was wonderful to witness, making her the best character of the show.

The rest of the cast is, unfortunately, placed on a lower tier. Welf is given an episode of his own, but like a lot of the cast members, there is little given about him as well as no development to speak of. Aiz falls under the same troubles; besides her exceptional battle prowess and emotionless nature, the anime spends no time on her actual person, which is odd considering how much of an inspiration she is to Bell. Speaking of the main lead, Bell sits slightly higher character-wise, but not by much. Initially, he is perceived as a coward, as someone who cannot help himself. It is this ridicule from others that sparks him to become better. Not as a person but as fighter because the rest of the anime has his stats leveling up as opposed to his actual self. He has hardships in the form of fights but he remains the same, happy-go-lucky Bell from start to finish.

There does exist some symbolism that reflects the characters – Bell has “firebolt” to match his fiery passion; Welf’s “will-o-wisp” ability, that stops enemy spells, coincides with his refusal to work on his own craft; and Liliruca can morph into a bunny like how she use to “morph” her outward self – but it is not enough to make up for the lack of execution that nearly every character faces.

SOUND

Dungeon’s opening theme starts off alright but quickly devolves into a less-than-stellar track. The vocalist does not seem to have the power to back the song, with the actual music being produced going every which way in terms of beat and tone. The background singers do not help either; they are more annoying than supportive, detracting the listener from actually being able to hear the piece. The ending theme, on the other hand, is nice due to the slow build-up, resounding trumpets, and catchiness that it incorporates. It is a fun piece that captures the (usually) up-beat nature of the anime.

The rest of the soundtrack is par for the course. Nothing is immediately noteworthy, with most of the pieces fitting the atmosphere in place. That is, many of the tracks use flutes, guitars, and pipes to give it that adventurous and slice-of-life feel. There are also standard piano pieces for the sad times and triumphant, adrenaline-filled pieces for those fighting moments. It is an okay OST overall that performs at an appropriate level.

Voice acting for Dungeon is somewhere above average. A special shout-out is deserved for Yoshitsugu Matsuoka as Bell for his on-point screaming.

ENJOYMENT

Although I criticized the anime for having a harem where none was needed, I still liked that aspect. As a romance aficionado, watching as all of the women blushed or fought over Bell was usually enough to make me happy. However, I would have liked to have seen more progress between him and Aiz since it felt like their relationship was tossed on the wayside despite the general importance of it.

I was actually a fan of Hestia as well, boob-string and all. She was pretty much there for comic-relief, what with her silly faces, overreactions, and protectiveness of her “child.” She, like the majority of the cast, did not add much beyond her superficial characteristics, but she was still fun to experience over the season.

Beyond the harem and Hestia segments, there was not much else I found myself particularly liking. The battles were fine, except the final one; it seemed too all over the place with unexplained details, such as the weapons being used and the offhand comment about Bell being Zeus’s descendent. As for the other characters, I cannot say I was particularly fond of them, either. Many of them are attractive or funny but do not have the same impact that Hestia managed to bring about, so characters like Ryu or Aiz are cool but do not have enough surrounding them to make them worth remembering.

While the show’s theme on inspiration is nice as are parts of the art it presents, there is not enough story- and character-wise to make the anime worthwhile. And while the harem aspect is fun it ultimately prevents the show from accomplishing what it set out to do. Is It Wrong to Try to Pick Up Girls in a Dungeon? That is still a question up for debate. But at this point it is clear that, if anything, the anime needs to pick up the slack for any continuations.

SUMMARY

Story: Bad, theme of inspiration through role models is there, but the high focus on the harem and the low focus on the actual world hurt it

Animation: Good, boring art style, nice fight choreography, nice character designs, above average actual animation

Characters: Bad, Hestia is good but the rest, from Bell to Welf to Aiz, cannot pull their own weight

Sound: Fine, bad OP, good ED, okay soundtrack, above average VA work

Enjoyment: Fine, Hestia and the harem antics were fun, but not much else was

Final Score: 4/10

Epilogue: Thanks for taking the time to read my review.
ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้ ส็็็็็็็็็็็็็็็็็็็็็็็็็sup fumble?ส้้้้้้้้้้้้้้้้้้้้้้้
come ts mate!
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Pupa



Prologue: Just a dude looking to get better at reviewing/analyzing anime. I hope you enjoy the review and the discussion that follows! Critiques are welcome.

The world is filled with every manner of creature. From the red cardinals of North America to the tiger sharks of the Pacific Ocean, the range and variability of the Earth's organisms are quite the sight to see. But this is only at the macro level. At the micro, one can find strange cells and harmful bacteria. And the worst offender of them all is the dreaded virus. It's only directive is to infect the host it attacks, and depending on the type, particular outcomes can be found. Pupa is like a deadly virus: unwanted, unneeded, and completely unhealthy for anyone involved.

STORY

Pupa begins with Utsutsu being greeted by his younger sister, Yume. While waiting for her brother, she is attacked in the park, leading to a rather otherworldly development.

The entire series runs at just under forty minutes. Even if one were to give the show a little leeway in terms of progression, the amount of plot holes that exist are too egregious and many to warrant it forgiveness. What purpose did the monster dog serve? Where did Maria's character go? Why is Yume capable of growing tentacles? How did Utsutsu obtain the virus? Who did their mother get impregnated by to birth a demon baby? All of these questions and more are raised, but are either never answered, skipped over, or blatantly ignored to proceed to the next set of unexplained plot points.

Another of the show's faults is its inability to properly keep its tone in check. It dips and dives without rhyme or reason, and never really settles on a specific presentation. It tries to take itself seriously when showcasing past trauma, frightening with the blood and screaming, creepy with the supernatural beings, and insanely cute and happy to round everything off. Most of the time, one is laughing at the absurdity of the situations taking place. And coupled with the missing narrative and these abhorrent disconnects in expression, it causes the entire experience to come off as a complete mess.

Digging deeply into the despair that Pupa delivers, one discovers a literal delegated theme. In essence, it tries to convey the notion that not everything can be done by one's self. That a certain amount of support is required to accomplish particular tasks. This is clearly seen with Utsutsu towards Yume; he becomes the sustenance she needs to survive. At the same time, Yume supports Utsutsu by eliminating the people causing harm towards him. Even their mother technically receives help from their father. The issue, though, resides in the huge disparity between what is rational and what is reasonable. Utsutsu's example is cannibalism; Yume's is murder; and Sachiko's is physical abuse. When one thinks "support," these ideas never come to mind. It's entirely nonsensical, and is perpetuated further by Pupa's lack of a coherent story.

ANIMATION

Pupa is rather dull in regards to both the art and its actual animation. This is taking into account the uncensored version only.

The art style is often very dark, taking on a drawing or painting effect for its backgrounds. It comes off plain, but gives this effect that what one is watching is almost dreamlike. The contents are also quite gruesome: liters of blood, chopped limbs, and masses of flesh are common within each episode. It's all rather graphic; this is not a show for the faint of heart.

The character designs are weird because they follow Pupa's odd trend: almost zero explanation. Utsutsu's red facial mark, Yume's transformation, and Maria's leg scars are given no pretext at any point during the show's duration. The only article that is given any amount of attention is Yume's hairpiece.

The actual animation usually rests below average. It picks up during the eating scenes, where mouth movements, alongside the tearing of flesh and organs, become the norm. Otherwise, characters are almost always shown standing around, sitting down, or laying back, with only the spurting of their blood seeing velocity.

CHARACTERS

It's very difficult to talk about the cast of Pupa. The reason is that half of them are given "importance," but are then subsequently never used afterwards.

The worst offender of this technique is Maria. Donning a witch-like hat and menacing eyes, she randomly appears near the start of the show. She acts as a sort of observer, taking a lot of interest in the monsters that are Utsutsu and Yume. However, following a startling revelation, she disappears. From then on, she is neither shown nor alluded to in any fashion. While the plot itself is usually disjointed, what she could have potentially brought to the table would have been interesting, or "relevant," to say the least.

The same goes for Utsusu's and Yume's parents. The father, with suit and glasses, was abusive towards not only his wife but to his own kids. Mr. Hasegawa's inclusion served one purpose: to instill some sort of drive within Utsutsu, causing him to always want to protect his little sister. Again, though, not only is this "development" given little context but the father is never actually seen; he exists only in flashbacks. All of this says nothing of the mother. Sachiko's long brown hair and calm expression hid her true feelings. She was fearful of the daughter she gave birth to, knowing the kind of beast that she was. In order to reaffirm her reality, and to "escape" from the dream she felt trapped in, she accepted the pain given to her by her husband. Beyond giving Yume an origin (but still with no justification as to Yume's condition), Sachiko fades from the show. All of them -- Maria, Mr. Hasegawa, Sachiko -- and other unnamed characters only serve to further the inconsistencies that already exist.

Therefore, the only characters that at least maintain connections to the anime are Utsutsu and Yume. The former is the older brother. Sporting a feminine-looking hairpiece, a red-mark, and plain looks, he harbors a deep love for his little sister. This characteristic is shown from the beginning and never falters, causing his entire development to stagnate. He does nothing other than becoming the food source for Yume and screaming due to pain from time to time. And Yume is no different; her initial abomination provides an interesting outlet to explore, but is immediately dropped. Instead, she never seeks to alter her path or find any type of solution, reciprocating the same "love" that her brother gives to her. Both are one-dimensional, flat people that never see growth.

This is odd, considering the characters' supposed theme. The title of the anime is "Pupa," after the name of the virus that has invaded both Utsutsu and Yume. However, the show constantly refers to butterflies. Why is this? Going biological for a moment, the butterfly is a creature that follows a simple life-cycle: larva, pupal, adult, and repeat. Thus, "Pupa" isn't so much about the disease as it is about the apparent state of the characters. A pupa is normal and boring on the outside but contains a yet-to-blossom magnificence. And that's the show's intended message; that one's outer "ugliness" doesn't reflect a person's potential inner beauty. Utsutsu and Yume are mysterious monsters on the outside but caring humans on the inside.

This point is lost, though, for two reasons: one, it's muddled with an overwhelming feeling of lost realism. The lack of audience-relation persists, because the topics themselves are too perverse to give the characters the opportunity to seem human. Two, and following the analogy depicted earlier, it's a cycle, not just a stage. Because the characters themselves never grow, never transition, to that next part of life, they always remain a pupa. The siblings' inner beauty, like the motif, remains trapped and unable to escape from within; a figurative "death by suicide."

SOUND

The OP and ED for Pupa can be found here.

The OP is somewhat quick, but also somewhat lame. The transition in the beat is awkward, the instruments are boring, and the final "Pupa" chants are rather silly to hear.

As for the ED, it's not that bad. It contrasts heavily with the show's darker tone, bringing about high vocal singing and soft piano playing.

The soundtrack contains melancholic violin pieces and more ambient, chilling ones to provide an appropriate feeling for the situation at hand. Besides this, though, the tracks are completely forgettable, and are not designed to be listened to outside of the show itself. If anything, the sound effects -- the crunching, munching, and scrunching of flesh and bone -- were always gross to hear.

Voice-acting sees average to below-average performances for the entire cast. A special shout-out to Nobunaga Shimizaki for his role as Utsutsu, having to scream probably for three-quarters of the anime.

ENJOYMENT

Part of the likability of an anime like this is in its innards (pun intended). That is to say, one cannot be fazed by "horror" or gore when attempting to partake in what it has to offer. For me, the show never came off as frightening or creepy, mostly because it was imploding right from the get-go. As for the graphic nature of it all, I consider myself rather desensitized and therefore had no qualms looking at the pools of blood or the organs of those killed.

This anime is not quite at the "so bad, it's good" level. It's definitely atrocious, but I couldn't help myself from laughing or finding amusement at some of the scenarios. Maria correcting Yume about what she did, the entire episode that was basically a sexual innuendo, and the non sequitur that is the finale are all easy instances to point to that should have been "serious" but simply come off as highly humorous.

When you think about terrible anime, Pupa should come to mind instantly. With its ridiculous story, forgotten and stale characters, and unintentionally funny showing, it's a miracle that this one was even green-lit in the first place.

SUMMARY

Story: Terrible, plot-holes, tonal shifts, and unrelatable theme

Animation: Bad, brooding, bloody, and boring art, "unexplained" character designs, low actual animation

Characters: Terrible, underutilized, underdeveloped, with unfocused motif

Sound: Bad, bad OP, okay ED, bad soundtrack, average VA work

Enjoyment: Bad, gore galore but laughing all the same

Final Score: 1/10

Epilogue: Thanks for taking the time to read my review.

Everyday Life with Monster Girls


Prologue: Just a dude looking to get better at reviewing/analyzing anime. I hope you enjoy the review and the discussion that follows! Critiques are welcome.

I am attracted to beautiful women. A bit of an avant-garde statement, I know, but it is true. I love the curves in their figure, the lushness of their hair, and the succulent, full lips that rest on their faces. It is genetics; it is in my nature to look at a woman I find stunning and have my instinctual desires start to churn.

Recently, though, it has been a bit…weird. Lately I find myself saying, “I like a woman with a long, scaly, and red tail.” Sometimes I tell others, “A girl who can decapitate herself is the one for me.” And other times it is, “If I can sit on her back and she can still gallop through town, count me in.” My friends are bewildered and my browser history is ashamed. Of course, my newfound fetishes emerged thanks to Monster Musume, an anime about lamias, Dullahans, and many other women of the fantastical and mythical variety. It sounds odd – crazy even – but if loving monsters is wrong, then I do not want to be right.

STORY

At its core, Monster Musume is nothing more than an “ecchi”, comedic anime. It does not have deeply philosophical themes that challenge the mind nor does it have a complex plot filled with intricate patterns. But because it does not focus on the latter details it can strictly focus on the former, allowing it to constantly exist in its own element.

One such element is the branching out that occurs. It is understood that there are specific women who obtain the majority of the attention. These “haramettes” are (in order of appearance): Miia, Papi, Centorea, Suu, Lorelei, Rachnera, and Lala. For the most part, the girls are given fair distribution; the amount of scenes they receive is proportionate to their point of inclusion within the show. Arguably, Miia gets too much and Lorelei does not get enough, however since Miia is the “main” girl and Lorelei is a mermaid with a niche interest, these differences make sense contextually. Monster Musume does not stop there, though, choosing to showcase a variety of other monsters. Cyclops, giants, and doppelgangers are prominent, and to a lesser extent dragons, dryads, and dogs. Obviously the anime centers on the main cast instead of the side cast, but having more monster girls outside of the staple offerings makes the situation more reasonable rather than a set of special circumstances that just so happen to revolve around Darling. In fact, due to the interspecies mandate, having a range of different monsters coincides with the literal societal shift.

Granted, “monster” is not entirely correct. The women are a combination of a female human and some known creature. Indeed, if each girl was completely genetically monstrous, the anime would tread into shady territory. The anime understands this distinction, flip-flopping between normal and unique “ecchi” content. Clichés like the girls falling into erotic positions or wearing skimpy bikinis are present; tried and true but not necessarily welcome. It is when Monster Musume focuses on its unique element – monsters – that the door is held wide open. One scene has Miia, a lamia, getting help with shedding her skin, arousing her and the audience in the process. Another scene has Papi eating ice cream like it was fellatio because her wings cannot hold the dessert. Another still has Zombina the zombie lop off her breast, forcing Darling to stich and to play with her body. It is undeniably ridiculous but that is the edge Monster Musume has: the ability to tap into unknown and unheard-of fantasies.

But the show, like the women, is two halves: one part perversion and one part hilarity. Similar to its “ecchi” brethren, the comedy finds strength when it incorporates it with the monster qualities of the women. Meaning, while overreactions and misunderstandings are standard fair, when Suu becomes Godzilla after consuming chemical waste or Centorea eats carrots that cause her to go into a longwinded speech about taste bud sensitivity, the latter moments are inherently funnier since they stick with the show’s shtick. Furthermore, the “ecchi” and the comedy are not mutually exclusive. Darling ogling at Rachnera’s long legs and Lorelei disguising herself as a bodacious maid to fit her dreams are designed to make the viewer smile in more ways than one.

The rest of Monster Musume’s features are also a dream in that they are there but not really. A subplot of marriage is mentioned to string events together but is never at the forefront. The “world building,” or cultural information pertaining to the monsters, is provided as single sentences during speaking or as separate snippets at the end of each episode instead of explained throughout the season. Ideas like be kind to others, do not be ashamed of who you are, and so on, have their heart in the right place but are not explored outright. In other words, what surrounds the anime’s “ecchi”-centric, comedy-dominant, monster-filled center is fluff, stuff that means little to the show and therefore the audience. But this fluff acts as a cushion for the anime, allowing the lewdness and the laughs to rest in a figurative comfort zone. Scenarios can get heavy – Miia getting kidnapped, Centorea getting cornered, etc. – but the show makes sure to spin the situation back towards its roots – the man who kidnapped Miia is found to be a woman after she is stripped (“ecchi”) and Rachnera appears to terrify the evildoers attacking Centorea (comedy). In this way, no matter where the anime veers, the path it takes inevitably leads back home.

So, does Monster Musume question the self or invest in time travel? No, it does not. However, it having some solid “ecchi” and comedy, mired in a monster motif, is definitely difficult to deny.

ANIMATION

Monster Musume, perhaps surprisingly, is quite strong when it comes to its art and its animation.

Art within the anime is top-notch. Lighting and camera angles in particular are given a lot of attention. The latter is especially noteworthy, considering the size of the monster girls; their bodies are often concealed to refrain from showing them (production resource management) but also as a means to maintain emphasis on the women and their human selves. It is a strange notion, considering that the main appeal of the anime is the monster aspect, but the decision is twofold: attraction (since looking at Papi’s chicken legs constantly is not provocative enough) and reconfirmation (reminding the audience that, at the end of the day, these are still females). Smaller details such as changing the time of day, moving between Darling’s comical and sincere face, and first-person perspectives make the anime dynamic in its presentation and therefore higher in its execution.

Monster Musume also includes a large quantity of styles. Minimalist portraits, overly detailed paintings, and creepy depictions intermittently pop up throughout the season, spicing up the package once more. The styles are mostly used for comedic purposes, but the constant switching keeps the show on its toes (or contextually, its tails, talons, and hooves).

Luckily, the anime refrains from switching to overt censoring. Many shows opt for steam or magical light beams to mask the nudity on screen, but Monster Musume cleverly constructs its scenes in ways to maximize assets and minimize hiding. Nipples are often missing, hands cover genitalia, and objects living in just the right spots conceal anything that is slightly too forward. Some scenes do use the noticeable black cloud that is common in the medium, but it is rare and reserved for those over-the-top shots. More often than not the anime leans on the camera once more, showing the scene but cutting off part of it, leaving the rest up to the imagination of the audience (and the BDs).

The character designs are likewise imaginative, unique to say the least. Miia the lamia, Lala the Dullahan, Centorea the centaur, Rachnera the spider, Suu the slime, Papi the harpy, and Lorelei the mermaid. When looked at closely, each character’s design corresponds with their monster origin and personality: Miia is clingy, Lala is delusional, Centorea is honorable, Rachnera is dominant, Suu is childish, Papi is dumb, and Lorelei is tragic. That is to say, their respective designs already inform the viewer what type of person each girl is.

Individually, they look the part. Miia’s extremely long and scaly tail, Rachnera’s spider body complete with skull and six red eyes, and Papi’s blue wings make it easy to distinguish what monster they happen to be, but it is the small details that add up. Centorea’s wears a ponytail, Lala has a scythe-like hair-do, and Lorelei’s fingers are webbed, indicating how intricate the designs truly are. And perhaps most important of all, each woman is attractive, with faces and bodies that simultaneously please the audience and question their sanity.

Actual animation remains above average for nearly the entirety of the show. Breasts jiggle, characters fly, and hair moves, breathing life into the cast onscreen. But as it was with the character designs, it is the smaller details that give the anime strength. Tails wag, eyes shine, and waters lap, putting the show, like the events, in a constant frenzy.

CHARACTERS

It seems unfathomable that anyone outside the women of the main cast would be more interesting. After all, they are half-female-human and half-monster. Arguably, though, it is Kimihito Kurusu who stands out the most. Technically he does not stand out at all – most people do not even know that Kimihito, otherwise known as Darling, Master, or Honey, is his actual name – but that is precisely what makes him so special. Kimihito is the epitome of self-insert characters. Besides his name, he is: incredibly strong, impossibly kind, and inviolably resilient. He is a virgin, he accepts everyone for who they are, and he has a past that is not exactly the peak of popularity. Plus, he can cook. Everything about him is meant to make him this dull, generic mass that anyone can relate to. The main purpose is to allow the viewers to take part in the stereotype Kimihito’s character is named after, specifically self-inserting themselves into his position so that they can feel as if they are the ones receiving the affection of the women. But Kimihito is extremely bland; he has no outstanding qualities whatsoever. Most self-insert characters, despite what they are intended to evoke, have something unique about them to differentiate their existence from within and without their show. Yet Kimihito does not follow this trend. In a certain sense, his unbelievable amount of plainness makes him a nonfactor, which in turn makes his character surprisingly clever. His palpable blandness accentuates the women, highlighting their bizarreness beyond what it already is. This keeps the spotlight on Miia, Lala, and the rest, his presence a shadow in the night. The result is more of what makes Monster Musume itself: more “ecchi,” more comedy, and definitely more monsters.

Monster-wise, the women are obviously attractive, their personalities and mannerisms designed to get the audience wanting. In fairness, that is not their entire directive. Indeed, a peculiarity about them exists. Dichotomies can be drawn between their monster origin and their personalities, much like their character designs. Miia is the sweetest person when dealing with her Darling but vehemently venomous when anyone gets in-between her and him. Lala the “death god” is only so due to her “chuunibyou,” thereby making her the least dangerous of the troupe. Centorea’s dignified self makes her the most prone to shyness. Rachnera’s teasing reveals how much she understands other people. Suu and her childishness is merely a ruse for her aggressive outbursts. Papi may be dumb but nobody can beat her motherly instincts. As for Lorelei, she might exude an air of royalty but her extramarital fantasies are unladylike to say the least. These dichotomies demonstrate that the women consist of more than singular traits, their individual dualities playing off one another to bolster both their persons and the grander motifs.

However the women represent more than dichotomies; the peculiarity is a bit more complex. It is easy to surmise that each woman represents some sort of sexual fetish. Miia has embracing, Lala has mastery of head (so to speak), Centorea has massive breasts, Rachnera has BDSM, Suu has licking and sucking, Papi has youth, and Lorelei has a handicap. Together, they are a diverse collection, offering “something for everyone”…which almost does not make sense. Asking a random heterosexual male if he would prefer sleeping with a voluptuous woman or a snake, nine times out of ten that man will choose the former. Monsters, by their very definition, are not meant to be mates or even lovers. They are scary, creatures that possess otherworldly, nonhuman aspects. So these women having something for everyone when they would seemingly having nothing for anyone is a stark contrast.

And like any strong contrast, it reveals something important. In this instance, the peculiarity: “it is what is on the inside that matters most.” While cliché, this sentiment rings true here in Monster Musume more so than normal. The women are a lamia, Dullahan, centaur, spider, slime, harpy, and mermaid, mythical beings whose outer appearances can be difficult to stomach. But it is their courage, their passion, and their heartfelt feelings in everything they do, from trying to cure Kimihito’s sickness to protecting him from imminent doom, that make them beautiful. Looks are likewise important – their female human halves are part of the allure – however the monster girls emphasize that a relationship based on love is not one that is wholly concerned with the superficial but instead based on what lies beneath the skin and the scales, windpipe, fur, carapace, goo, feathers, and gills.

SOUND

The opening theme for Monster Musume is delightful. It is extremely catchy, upbeat, and downright fun. The beginning is serene and slow, then immediately gives way, with up-and-down techno sounds that invite happiness just as the anime does. The various vocalists work in unison and individually, creating that harem yet singular feel. The intermittent “Woo!” that can be heard, the change in tone in the middle, and the back-and-forth lyrics add together to make a dynamic track that perfectly fits the show, a killer piece that wonderfully captures what the anime is all about.

The ending theme goes metal, bringing the rock and the roll. The contrast with the OP works well, giving the piece a tougher vibe that the show does not normally exude. The hard guitar, drums, and screaming start the piece in a scary place, appropriate given the monster motif. Here as well, the vocalists switch on and off to mirror the group in question, but when the choir backs up the singular vocalist (Smith), it reaches a triumphant tone that matches the triumph that M.O.N. strives for. Ending the piece with a chant and a cool disc jockey is icing on the cake.

The remainder of the soundtrack is not as sweet but it gets the job done, containing simple tracks that encompass everyday life. Considering the official title of the anime in English is Everyday Life with Monster Girls, such a musical direction only makes sense. Flutes fill the air during leisurely time to make the scenes more homely. Funky sound effects for the funny moments to increase the laughs. And slow, sensual tones for those equally sexy escapades to get the audience in the mood. Altogether the tracks fit their respective occasions, increasing the effectiveness of the scenes they are heard in even if they are not memorable as standalone pieces.

As a side note, the sound effects are also effective, with a myriad of noises incorporated into the show. Spring lengthening, scythe wielding, and hoof clomping can be heard, as well as thread stretching, goo glopping, feather rustling, and wheel turning. These sounds correspond with a specific monster girl, subtly adding depth to their character.

Voice acting is not-so-subtle and instead superb. While moaning is a common denominator, each woman provides an excellent performance for the character given. Specifically, Sora Amamiya as Miia has a precious way of speaking but she can roll the “R” when needed, with her going through a wide range of emotions and inflections throughout the season. Also, Ari Ozawa as Papi gives a killer rendition, with nobody’s cute way of speaking being able to match her cadence and therefore making Papi cuter in the process. And Yurika Kubo as Tionishia deserves a special shout-out, her squeaky voice accentuated further due to the size of the character she plays, making her less fearsome and more adorable. But to reiterate, everyone involved gave it their all, clearly elevating the strength of the anime.

ENJOYMENT

Suffice it to say that I liked this one. A lot. Obviously part of it is how sexy it all ends up being. Miia wearing a nurse’s outfit, Lala using her tongue while getting groped, and Centorea’s huge bust are instances that I look back on (frequently) as successfully arousing me. But despite how provocative the anime was, it also had some amazingly endearing moments. Using the same women: Miia dreaming about her future with Darling and their child, Lala getting scared and hiding, and Centorea blushing to the max when her hand was held put the stupidest grin on my face. It is unbelievably cute to watch these and similar scenes, but I think it has more to do with these women, who society sees as weird, finding happiness that made me happy as well.

I laughed so much watching this one, too, with every episode having some scenario that induced an audible chuckle. Papi is more or less a birdbrain, but her accidental sexual innuendos and her constant carefree attitude was always hilarious. Suu likewise, since she refused to stop smiling no matter what happened to be going on around her. Smith also had her moments, usually when she acted nonchalant with her job and her duties, which, coincidentally enough, was all of the time. The only segment that is a blemish on the anime is Papi’s egg laying bit. Not that the topic was gross but that it placed too much attention on the director dude, changing the focus from the “ecchi,” comedy, and monster girls and onto this perverted guy. Despite being a lead-in to Rachnera, it felt too out of place considering how much it diverted from the show’s normal happenings.

Thankfully it is a small segment and is quickly forgotten amidst the anime’s other events. Miia pressing her face up against a window and growling angrily, Lala quaking in her boots and the chair following suit, Centorea nearly feinting while pretending to check Darling’s temperature, Rachnera tying up a lesser devil, Suu trying to rehydrate herself, Papi dropping her phone down her shirt, and Lorelei getting fired up for immoral love were all moments where I could not help but laugh or smile. Alongside the countless times I exclaimed “Hot damn!” or shook my head saying “This show…,” it was easily a fun ride from start to finish.

Monster Musume is undoubtedly a strange show. Its combination of monsters and sex seems like a huge turnoff when given a precursory glance, but the high amount of execution in its “ecchi” and comedic elements is rather impressive. Furthermore, the characters are meaningful, the artistic direction is intelligent, and the voice acting is divine. Overall, the anime champions the notion that while women are certainly beautiful, monsters are, too.

SUMMARY

Story: Good, “ecchi” and comedy are its forte, using the monster motif to its advantage with it never deviating from its established norm in order to strengthen said “ecchi” and comedy

Animation: Great, lighting and camera work are well done, the minimal censorship is a boon, the character designs are very nice, and the actual animation is always above average

Characters: Good, Kimihito is the epitome of self-insert characters, highlighting the monster girls well, which in turn demonstrates their dichotomies and fetishes, as well as the simple message of “it is what is on the inside that matters most”

Sound: Good, great OP, good ED, fitting OST, nice sound effects, and above average VA performances

Enjoyment: Good, sexy, hilarious, and endearing for nearly the entirety of the season

Final Score: 8/10

Epilogue: Thanks for taking the time to read my review. Rachnera Best Girl Summer 2015! :3
sup fumble?
supski man, playing over christmas ye?
Parent
Just for you m8,

ps: sup fumble?
Parent
sup fumble?
Supski IceQ!
Parent
When are you on again m8?
Parent
sup fumble?
Quote by 26-09-2016Still no reply from fumble. RIP
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