|lucky star review||4 out of 4 users found this review helpful.|
Lucky Star is a series that has a loose storyline, but does not deviate from the big picture. After viewing a few episodes, it follows more like that of Azumanga Daioh and Ichigo Mashimaro. This is a slice of life story that is realistic, and is full of skits all around. Some viewers may scrunch their eyebrows at the questions the main characters ask, and the discussions that follow, and there are some punchlines that may be dubious to comprehend, but it does not affect the story overall.
Konata Izumi, the main protagonist, has a fetish for chocolate cornets, as well as a number of anime and manga shows that are also popular. Not surprisingly, she is an avid follower of Haruhi Suzumiya (the seiyuu of both characters is Aya Hirano), and you also have plenty of other anime and manga references. And in spite all her bubblyness, and the catlike smile she loves to sport, she has skeletons in the closet, too: her mother died when she was young. She is a "Jill of all trades," the renaissance girl, and the otaku, all in one.
Kagami Hiiragi is the tsundere-type of girl in this series, and a popular girl in her class. Aesthetically, she is an interesting person to pay attention to, more so than her sister Tsukasa, although there are attributes that make her unique. Miyuki Takara is your meganekko in the show, and after Konata talks with her about what her weaknesses are, she sees her in the moekko mold. The supporting characters have their unique quirks: Yui Narumi, Konata's cousin, and her teacher, Nanako Kuroi, are akin to Yukari Tanizaki and Minamo Kurosawa in AzuDai. Akira Kogami and Minoru Shiraishi, who both host the Lucky-Channel portion of the show, are a boke-tsukkomi duo.
Some other well known characters outside of Lucky Star even cameo in the series, like Sergeant Frog. I feel it may take away from the story, but these guest stars add another dimension to this sitcom of a series. Lucky Star can also be thought of as a sitcom in a way, a situational comedy with punchlines at every twist and turn.
The story plot, which is weak, is strengthened with the characters, who reflect different personalities and persuasions. It's a good balance.
The artwork and direction is perhaps what Kagami Yoshimizu would want. The motions of the characters are fluid, and it just feels like the animation is clean from the get go. The details might need to be a bit more improvement, but it's not as much an issue because it holds its own. Some of the scenes, like Tsukasa in the ocean during the beach vacation, or Kagami's tears after confessing to Konata about her weight gain, are indeed detailed, and are done tastefully well. The OP of the show even has some computer animations, too.
The art, the direction, and the way Kyoto Animation did this series reflects their work of The Melancholy of Haruhi Suzumiya, and its formula can be adjusted for any series that they work on. The art matches the emotions, the storylines, and the thoughts. Altogether, in spite of a need for a little more detail, it is another solid KyoAni effort.
The music is a hodgepodge. Your OP, "Mottette! Sailor Fuku" is a song that has sparked an Internet phenomenon of all shapes and sizes. It has been parodized many times, in the way of "Hare Hare Yukai", and the "Dadadadada" that Konata does justifies the uniqueness of this opening song. The ending of this song is a mix of hits from famous anime/manga series, including "Cha La Head Cha La" from Dragon Ball Z, sung by the main characters in rotation.
The situational music is perhaps the down side because it isn't even necessary for most scenarios. I personally believe that it doesn't need it. The background music from other series in Lucky Star, such as "Hare Hare Yukai" when Konata plays on a taiko simulator, or Aya Hirano's "God knows..." during a concert that the girls watch, is acceptable, but the original situational music could be best dealt without.
Lucky Star is a series that will either get you hooked, or it won't. Konata, Kagami, Tsukasa, Miyuki, and the other characters of this show are likable, memorable, and are unique in their own, quirky, slackerish ways, and the punchlines can provide a nice laugh or two, or three, or more.
Kagami Yoshimizu's 4-koma classic and Kyoto Animation takes a different approach to the formula used for slice-of-life shows like Ichigo Mashimaro and Azumanga Daioh, and applies other anime and manga shows, and makes it into a product all its own. The concept is well thought out, the art is what you would expect out of KyoAni, and while the situational music could be better off nixed, the opening and the phenomenon that followed has left an indelible mark, one that will make you want to watch it again and again.