Violence Jack is actually a trilogy of three stand-alone OVA titles featuring the titular character adapted from a series of manga publications created by Go Nagai since the character’s debut in Weekly Shonen Magazine on July 22, 1973. The OVAs were released in Japan in June 1986 (Harem Bomber), December 1988 (Evil Town) and November 1990 (Hell’s Wind). The OVAs were licensed by Manga Entertainment in the mid-1990s for dubbed VHS release, which underwent varying degrees of censorship to remove the more graphic content found in the episodes. The Evil Town OVA has a degree of infamy to it in Australia where its large number of rape scenes towards women led it to be banned from release in the country. Right Stuf would claim video distribution rights to the OVAs later in the decade and release them completely unedited on VHS in subbed and dubbed formats. Both the Manga and Right Stuf versions of Violence Jack are out of print. Like Angel Cop and Mad Bull 34, Violence Jack is notable for its inclusion among Manga Entertainment’s infamous “Holy Trinity of Suck”.
Following a large earthquake that wiped out much of humanity’s population, the remaining populace is now divided between the strong and the weak with depraved gangs coming together to inflict varying degrees of suffering to the innocent. A mysterious giant of a man who calls himself Violence Jack is unearthed from the rubble of the earthquake who helps aid the weak against evil threats.
Violence Jack- A mysterious giant of a man who wields a large jack knife. Despite his seemingly evil and intimidating appearance, Jack fights to protect the weak in the post-apocalyptic world that he inhabits.
Violence Jack has a bare bones plot that is simply an excuse for the different OVAs to show off the various depraved acts committed by the gangs and the gory ways in which Jack dispatches each of their members. The depraved acts depicted throughout the OVAs include sadomasochism, rape, cannibalism and torture. Women that exist in the series wind up getting raped, beaten and tortured on a regular basis throughout the OVAs
Like many 1990s Manga Entertainment titles, Violence Jack’s English dub is peppered with profane language not found in the original Japanese version. The addition of it here seems rather pointless considering the graphic violence and rape scenes found throughout Violence Jack would be more than enough to make it appropriate only for older viewers despite any censorship of said scenes being done in Manga’s dub.
Before we get to the review, I have an announcement to make. The review after this will be my 20th Ani-Crap Review and I plan on personally choosing the next title that I will be covering, which I plan on doing next weekend. As a result, I don’t plan on posting a new poll for readers to choose my next title until next weekend. So what do I plan on covering for my 20th review? I’ll give you guys a hint: there’s only one title among Manga Entertainment’s infamous Holy Trinity of Suck I’ve yet to cover and this one has a lot more infamy to it than the prior two I’ve covered. Look forward to next weekend! In the mean time, on with the review.
Astarotte’s Toy was a 12-episode ecchi/ harem comedy TV anime that aired from April 10 to June 26 of 2011. The anime is based on an ongoing manga series written by Yui Haga for the seinen magazine, Dengeki Maoh. Episodes of the series are legally available for streaming via Crunchyroll.
Astarotte Ygvar is a 10-year old princess in the kingdom of Ygvarland within the magical world of Alfheimr. Born a succubus, Astarotte is expected to begin organizing a male harem as she comes of age and needing the “life-seed”, otherwise known as semen, of men in order to sustain herself. The princess, however, has a hatred of men and only agrees to organize a harem if the first male she adds is a human, as those in her realm believe humans to be extinct. However, her followers encounter a human male named Naoya Tohara who, along with his daughter Asuha, is brought to Alfheimr to be part of Astarotte’s harem.
Astarotte’s Toy is a series that seemed unsure if it wanted to be a lolicon/ ecchi romp fest or a comedy-drama focused on the developments of Lotte’s character as she spent time with Naoya. Both elements fail at being appealing due to the former appealing to the lowest common denominator of Japan’s otaku fanbase and the latter being riddled with enough clichés you would see from enough similar titles that it lacks any type of freshness.
The ecchi content for Astarotte’s Toy is not as dirty as you would think for the premise for this series. It plays up the old nice guy/ tsundere character dynamic used in past romantic comedies in its focus on Naoya and Lotte’s relationship, with the latter being yet another Rie Kugimiya-style tsundere. To those unfamiliar with what I mean, Rie Kugimiya is the seiyuu for Lotte in this series who has acquired a rep for portraying a number of tsundere characters in her works such as Shana, Taiga and Nagi. The tsundere that Rie typically portray are teenage girls with a childlike appearance having long hair, flat chests and an aggressive “tsun tsun” type personality for their character.
For the character dynamic in this series, it looked like Astarotte’s Toy was ripping off Hayate the Combat Butler with the male lead (Naoya) being man servant to the demands of the rich and spoiled tsundere (Lotte). But while Hayate the Combat Butler had its effective comedic delivery to make the premise work with Nagi and Hayate at least being a few years apart in age, Astarotte’s Toy tries to be more focused on the developing relationship between Lotte and Naoya. The approach fails to work here because the character dynamic has been done enough times before where its quite stale and the creepy lolicon implications of the relationship are present since Naoya’s a full-grown adult (despite appearing much younger) and Lotte has yet to even approach adolescence.
Outside of the relationship developments, Astarotte’s Toy also suffers in its comedic delivery and having some questionable moral elements to its story. For the show’s humor, it dabbles into the typical and tiresome perverted gags and innuendo jokes you would find in ecchi titles that involve intercourse, certain bodily features, arousal and the sometimes too-intimate interactions between female cast members. The title’s moral elements also raise some red flags as it was implied Naoya was underaged when he had intercourse with Lotte’s mother and our male lead having some pretty lousy parenting skills considering he left his daughter to fend for herself during the first few episodes of the series when he entered Alfheimr and having very loose conduct with his parenting considering Asuha’s habit of not wearing underwear, allowing her to dress in some scanty clothing and her touchy-feely behavior with members of the female cast.
Looks like I have another situation where I found a series to be not as bad as folks were passing it off to be with Iron Man, as much mixed reception I’ve heard of Madhouse-Marvel’s anime work. This is still standard fare, but I don’t find it to be horrifically bad. With that in mind, I’ll be tweaking my review format slightly like I did with my Upotte review to reflect on what worked and not worked with Iron Man. Now onto the review…
Iron Man is the first of four anime titles animated by Madhouse that adapted a popular superhero franchise from Marvel Comics. The series originally aired in Japan for 12 episodes from October 1 to December 17 of 2010. It was licensed by Sony Pictures Home Entertainment, who aired an English dubbed version of the series on G4 starting in July 2011 and was released on DVD in 2012.
Tony Stark arrives in Japan with the purpose of building an Arc Station that will provide clean energy to the populace and claims to have retired as Iron Man as he is working on a mass-produced version of his armor called Iron Man Dios that will serve in efforts to curb any global threats. However, his efforts are sabotaged by a secret terrorist organization called Zodiac, who steal the Dios armor and plot to hijack the Arc Station for their own nefarious purposes. Tony resumes his guise as Iron Man in order to combat the robotic threats of Zodiac and figure out the organization’s motives.
Madhouse clearly put effort into the animation used within Iron Man and it shows with the visual presentation being above average for a TV anime. The scenery of the Tokyo landscape is vast with plenty of detail and vibrant colors shown with buildings and different locales. Character designs appeared to be going for a more Western style with facial designs looking more realistic in their proportions and details compared to more conventional approaches, with a good amount of detail depicted in their designs as well. CG animation was used in the rendering of Iron Man and other robots/ battle armors seen throughout the series which look slick, detailed and fit almost seamlessly with the anime’s regular animation. Battle scenes are well animated with movements looking fluid and intense, taking place on the ground, the air and even an episode occurring in space
With the series seeming to be made in mind for those who seen the 2008 live-action American movie or read the comics, fans will likely pick up on the subtle nods made to events and characters from both sources. And for those who haven’t seen neither source, there is an episode in the anime that focuses on exploring Tony’s origins as Iron Man and what led him to adapt his mentality to use his wealth for the better of humanity.
The main plot to Iron Man is a standard one that has been done enough times in conventional anime titles where the hero (Iron Man) is up against an evil organization seeking world domination (Zodiac). The series adapts an “enemy of the day” style plot for each of its episodes where Tony goes up against a different enemy threat from Zodiac for much of the show. In addition, the motives of the organization and the leader of Zodiac are rather predictable as the series presses on, killing much of the surprise the anime wanted to build up. While these elements are not so bad, they feel no different from the typical premises you can find in more popular anime titles and make the show’s plot feel kind of bland.
The weakest material coming from Iron Man comes in the motives of characters involved with Zodiac. Some of the enemies in the anime’s “enemy of the day” setup are human threats whose motives for joining the organization are poorly written and just an excuse to have them go up against Tony. This is especially a problem with Yinsen’s character as the anime effectively retconned his fate, just to create a weak twist in its plot when his actions and reasoning for involvement in Zodiac are contradictory to the type of character he was in the movie and comics.
While its plot is clichéd and rather forgettable, Iron Man is far from being a dud in my personal opinion. Action anime and Iron Man fans could clamor to the series for its well-animated battle scenes or just be giddy to see Tony Stark made into an anime character. Plus, the anime still has some respectability for its source material in depicting Tony’s character and origins, despite how Yinsen is depicted. However unless you come into this series looking forward to the fights or seeing Tony being Tony, Iron Man isn’t pulling anything groundbreaking with its plot and you will likely be disappointed with what it portrays.
Angel Cop was a six-episode OVA cyberpunk series animated and released by Soeishinsha from September 1, 1989 to May 20, 1994. The series was released on VHS in the 1990s by Manga Entertainment and later released to DVD in 2000. Both formats of the series are now out of print. Alongside Mad Bull 34, Angel Cop is notable for being among a trilogy of horrifically bad Manga Entertainment releases dubbed the “Holy Trinity of Suck”.
In an alternate universe of 1990s Japan, the country is the world’s economic power with a communist terrorist group called the Red May trying to take down and take over the government. In response to this threat, the Japanese government has formed an agency called the Special Security Force, who have the authority to operate outside the law. However, the Special Security Force comes to discover that a second group is also hunting down the terrorists.
Angel Cop attempts to create a cyberpunk anime out of events that took place during the late 1980s and early 1990s for Japan with its focused themes on communism, political corruption and Japan’s bubble economy. Unfortunately, the series never bothers to go into much depth with these major themes for its plot as it is more focused on showing off its gritty mood, graphic violence and mostly unsympathetic cast.
The anime never bothers to go into depth about the motivations concerning the multiple factions of the series and why one should care for their beliefs, instead portraying a sense of jingoism with Japan being the sole superpower in the world that others wish to attack for no particular reason. Angel Cop is quite infamous for its later plot twist being quite anti-Semitic when it is revealed Jews are responsible for influencing the problems plaguing Japan. Fortunately, Manga Entertainment did have the courtesy of altering this plot element in their English dub and subtitles, replacing it with the influence being an American corporation.
Angel Cop does sport a good amount of graphic violence with characters shown to be killed in horrible and gory ways. In one notable instance, you get to see a female terrorist being shot in the head, which explodes in gory fashion to show off brain matter and an eyeball flying out.
The characters in the series don’t help matters in the title’s quality as many of them lack depth and/ or are rather unsympathetic. For instance, our female lead Angel is willing to kill off a terrorist and his child hostage in one scene, placing her mission over the lives of civilians.
The visuals to Angel Cop also have their faults in terms of quality and the way its settings and characters are shown. Some of the character designs (particularly Lucifer and Asura) and settings (a music bar with a glam rock band) were meant to depict popular trends of the 80s, yet were hilariously outdated as Angel Cop was animated into the 90s as these trends died out. Also, the animation quality of the series tended to be quite inconsistent throughout its run, having its well animated spots and awful moments in various scenes.
Like a good number of Manga’s early dubs, Angel Cop is peppered with profane language not found in the original Japanese version of the series and has a laughably bad English dub with flat emotional delivery and some unintentionally funny lines in the dub’s script.
Mouse was a 12-episode adventure/ harem comedy anime aired on Japanese TV from January 5 to March 23 of 2003, with each episode airing for 15 minutes a piece. The anime was animated by Studio Deen and based on the manga series written by Satoru Akahori and illustrated by Hiroshi Itaba for the seinen magazine, Young Animal, from April 28, 2000 to October 29, 2004. A rather interesting fact about Mouse is that the series actually aired on a children’s channel called Kids Station during the time of its broadcast in Japan.
The series is currently licensed in America by Media Blasters under their Anime Works distribution line, with the series still in print by the company.
A young college art teacher named Sorata Muon takes on the secret identity of Mouse, a professional thief whose exploits have been passed down through his family for 400 years. Assisted by his three highly devoted and attractive assistants, Mouse is able to successfully elude capture by authorities and steal whatever valuables he declares he will steal, no matter how secure and protected they are.
The major low point of Mouse comes in the form of the three assistants that assist Sorata with his thefts. Clearly being the selling points of the series, their roles are seemingly only being sluts content to serving Sorata and wishing to have their way with him with their suggestive attires and behavior, as well as the prominent large busts found with Mei and Yayoi. While their sexual advances on Sorata are not frequent in Mouse, the three girls still aren’t too appealing on the eyes thanks to the title’s subpar animation as their details look rather crude and rough
Beyond the assistants, Mouse is focused on a number of storylines throughout its run that involve Sorata’s various thefts, how he met his assistants and crossing paths with an enemy syndicate wishing to kill him and his assistants off for their thievery. While there’s enough substance in the series for some semblance of a plot, all the show’s characters are stuck with whatever character archetype they are tacked on with and don’t do much of anything to grow out of it. The thievery of Mouse and his crew isn’t even too interesting of a plot element to be hooked on as the plans for his thefts are too ridiculous to take seriously, with a couple instances where he literally steals entire buildings.