Tag Archives: Love Hina

First Annual Reader Awards: And the Votes say…

Okay, everyone. Two weeks ago I said that I’d put up your choices for the awards. So, this week I’m doing that. Keep in mind, those people who did vote didn’t see all the anime I reviewed. So, these are going to lean pretty heavily towards the better known anime that I watched.Now, let’s look at your choices. Whether I agree with them or not.

Moffat Award for worst series/OVA: Corpse Party: Tortured Souls. 

Yeah, this one is bad. As a work of horror, it fails pretty badly, being funny more often than frightening. Not my pick, but I can see why it was yours.

Simone Award for best serious series/OVA: Code Geass: Hangyaku no Lelouch.

This is another one I can understand. Code Geass did a lot right and gave us a compelling story. Incidentally, I will be reviewing the second series in either late March or early April. So, that’ll be fun for all of us.

Abrams Award for worst film: Hetalia: Paint it White.

Here’s one we agreed on. This film was just bad with all of its good scenes being lazily lifted from the main series.

Miyazaki Award for best film: Spirited Away

Here’s another one we completely agree on. This film gave us a grand adventure with strong characters and was just Studio Ghibli at their best.

Macfarlane award for worst comedy: Hetalia: Paint it White.

I guess you guys disliked that film a lot more than I did, because I can think of a couple worse comedies I watched, but this is all about you and your choice was Paint it White.

Pratchett Award for best comedy: Gintama

I can’t really agree on this one. Gintama is not my type of comedy. But, at the same time, this choice isn’t surprising, since the series is popular.

Meyer Award for worst romance: Love Hina.

This one doesn’t really surprise me either. After all, it’s very close to my own pick.

Kanemaki Award for best romance: Yuru Yuri: San Hai.

I’m not really sure which pairing you all liked the most from this series. Maybe it was Sakurako & Himawari. Maybe it was Chinatsu & Yui. Maybe it was a poly-amorous coven. Whatever the case, San Hai was your choice for best romance.

Anno Award for worst cast: Hetalia: Paint it White.

On one hand, I don’t think this series has a bad cast at all. But, on the other hand, the film does kind of make it look like it does. either way, this is your choice I had mine two weeks ago.

Moore Award for best cast: Gintama

Well then… I guess that’s a thing.

Bendis Award for worst conflict: Corpse Party: Tortured Souls. 

In terms of execution, this conflict is pretty bad. I can see why you picked it.

Claremont Award for best conflict: Code Geass Hangyaku no Lelouch

I can understand this one too. Code Geass was really good about setting up both a conflict of ideals and one of this small resistance force against a major power.

Liefeld Award for worst visuals: Corpse Party: Tortured Souls

This was one of my two choices too. With overblown gore effects that are exaggerated to the point of silliness and ridiculous monsters. It just looks bad. Glad we agree on that.

Urbino Award for best visuals: Spirited Away.

Again, we agree. Also one of my choices this year. The visuals in this are Studio Ghibli at their finest. Beautiful details and a fantastically designed world.

Spencer Award for worst acting: Corpse Party: Tortured Souls.

I don’t disagree about this being badly done. These characters were bland and the actors, though they do their best, can’t really make them sound compelling.

Sir Stewart Award for best acting: Yahari ore no Seishun Love Comedy wa Machigatteiru.

The series does have some strong performances. Can’t really fault you for picking it.

Perry Award for worst music: Corpse Party: Tortured Souls

This one got a lot of the negative reader awards this year.

Kloss Award for best music: Gintama.

I’m just not going to say anything on this one. After all, this is about your picks.

So, there’s how you all voted. I guess you really liked Gintama, Spirited Away & Code Geass and really hated Corpse Party & Hetalia: Paint it white. I can largely agree on four of those.

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Ktulu’s Third Annual Anime Awards & Shaming Ceremony

This year, I thought I’d try something a bit different with these. First off, I’m not going to bother with nominees. It occurs to me that having different nominees is only really helpful if I announce those in advance. Secondly, I’ll be hosting a “reader’s choice” awards. I’ll list every single anime I’ve reviewed this year, sorted alphabetically, in the comments section leave your own choices for the various awards. For those of you who are regular readers from AFT, I’ll be posting a special thread for you to use. You can vote for however many categories you want. They can be anything that actually relates to the award in question, regardless of whether or not I liked/disliked them. To give a few examples, Futari Wa Precure: Max Heart  won’t be eligible for the various film reviews & Corpse Party isn’t eligible for the comedic awards, because it has to be deliberately funny to be in the running for those. For your convenience, I’ve labelled all of the film reviews.

So, here’s our list of anime reviewed:

3×3 Eyes Seima Densetsu, Akuma no Riddle, All Purpose Cultural Cat Girl Nuku Nuku: Dash, Ankoku Cat, Appleseed (film), Cardcaptor Sakura: the movie (film), Choujigen Game Neptune: The Animation, Choujuu Densetsu Gestalt, Code Geass: Hangyaku no Lelouch, Conqueror of Shamballa (film), Corpse Party: Tortured Souls, Death Parade, Divergence Eve, Dragonball Z: Fusion Reborn (film), Exlorer Woman Ray, Futari wa Precure: Max Heart, Gankutsuou, Ginga Ojou-sama Densetsu Yuna, Gintama, Glass no Kamen, Gochuumon wa Usagi Desu ka, Hetalia: Paint it White (film), Hoshi wo ou Kodomo (film), Ice, Kannazuki no Miko, Kara no Kyoukai 6 (film), Kara no Kyoukai 7 (film), Kekkai Sensen, Kigurumikku V3, Kyattou Ninden Teyandee, Love Hina, Love Hina Again, Love Live, Love Live 2, Mahou Shoujo Lyrical Nanoha As, Mahou Shoujo Lyrical Nanoha StrikerS, Mahou Shoujo Lyrical Nanoha Vivid, Mars of Destruction, Miyamoto Musashi: Souken ni Haseru Yume (film), Mushishi, Natsu no Arashi 2, Night Walker: Mayonaka no Tantei, Overlord, Phantom: Requiem for the Phantom, Sengoku Otome: Momoiro Paradox, Shigofumi, Shinrei Tantei Yakumo, Solty Rei, Spirited Away (film), Strike Witches, Sunabouzu, Uchuu Kyoudai, Whisper of the Heart (Film), Wooser no Sono Higurashi, X-men, Yahari Ore no Seishun Love Comedy wa Machigatteiru, Yuru Yuri 2, Yuru Yuri San Hai 

Now that that’s taken care of, let’s go over my personal choices for this year’s awards.

The Moffat Award for unbearably awful writing within a supposedly mostly serious series or OVA. Previous winners: Dansai Bunri no Crime Edge & Neon Genesis Evangelion

This year’s Moffat award winner is, from Madhouse, X-men. 

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You’re probably thinking, “really, Ktulu? You’ve reviewed Mars of Destruction, Ice & Corpse Party: Tortured Souls this year, but X-men stands out as the worst?” Yes, yes it does. Don’t get me wrong, all of these are terrible in their own right, but there are two things that makes X-men worse than those other three, for me. The first is that it’s the longest. Which gives it more time for its stupidity. The second is that I have a bigger attachment to X-men than I do those other series. I’ve never played the games that Corpse Party & Mars of Destruction are based on nor have I read the novel that Ice is based on. Maybe they’re good and the anime versions butchered them, maybe they’re just as bad. What I have read are a lot of X-men issues. As written by Chris Claremont, this is easily one of my favourite super hero teams. Which makes seeing them written as badly as they are in this series particularly infuriating.

The Simone Award for writing excellence is a mostly serious series or OVA. Our previous winners were Psycho Pass & Ghost in the Shell: Stand Alone Complex. 

This year the Simone award goes to Mahou Shoujo Lyrical Nanoha StrikerS.

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This one was tough to decide with StrikerS, Mushishi & Death Parade all in the running, but, in the end, StrikerS is the one I have the most fondness for by a very slight margin.

The Abrams Award for Horrendous film writing. Our previous winners were End of Evangelion & Metropolis.

This year the Abrams Award goes to Hetalia: Paint it White.

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As fond as I am of the series itself, the film was a lazy drudge with recycled gags and basically nothing good that was actually original for the franchise.

The Miyazaki Award for stellar film writing. Our previous winners were Nausicaa & Kara no Kyoukai 4. 

This year’s Miyazaki award goes to Spirited Away. 

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An excellent film from Studio Ghibli and the best I’ve watched this year.

The Macfarlane award for most failed comedy. Our prior winners were OreImo & Kill la Kill. 

This year, the Macfarlane award goes to Sunabouzu.

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A series that treated rape as uproariously funny and consistently found new ways to defy good taste and be genuinely one of the worst things I’ve ever seen.

The Pratchett award for comedic excellence. Our previous winners were Bottle Fairy & Doki Doki Precure.

This year’s Pratchett award goes to Yuru Yuri San Hai.

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It was difficult to choose between this and the second series of Love Live but, ultimately, San Hai came out on top by the slightest of margins.

The Meyer award for worst written romance. Our previous winners were OreImo & Mawaru Penguindrum.

This year’s Meyer award goes to Love Hina Again.

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Have you ever wanted to see a love triangle with a guy, his sister and the girl who abuses him? If you answered in the affirmative, I question your mental health. But that’s what Love Hina Again provides.

Next up we have the Kanemaki award for greatest romance. The previous winners of this one were Btooom & Mahou Shoujo Lyrical Nanoha.

This year, the Kanemaki award goes to Mahou Shoujo Lyrical Nanoha StrikerS.

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They had a fantastic budding romance in the first series. In StrikerS, they have a stellar mature romance. Nanoha and Fate are a spectacular couple.

The Anno award for flattest, most uninteresting cast. Previous winners were End of Evangelion & Neon Genesis Evangelion.

This year it goes to Love Hina Again. 

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The only reason that Sunabouzu didn’t take this one is that its characters are supposed to be unlikable. That’s the joke. Love Hina gives us a bunch of characters we’re supposed to like, because… they’re one-dimensional and obnoxious and Love Hina Again lowers the bar by adding in the incestuous sister character.

The Moore award for best cast. Our previous winners were Sailor Moon & Rainbow: Nisha Rokubou no Shichinin.

This year’s Moore award goes to Death Parade.

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Death Parade gives us a  group of characters who are highly endearing and have a lot to them. Both in terms of major characters and in terms of one episode characters.

The Bendis award for worst major conflict. The previous winners were From up on Poppy Hill & Sword Art Online.

This year’s Bendis award goes to Ice.

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Ice is a series where the main conflict really doesn’t work even in concept. We have a future with only women. we have two major factions. One wants to save humanity, but not with the tested, functional methods we have to let two women reproduce with one another. They want to use some convoluted nonsense. We also have another group that hates science because it’s a man’s field (Nothing insulting to all the female scientists out there at all) and just wants to let everything end while they indulge in hedonism. Both of these groups are insufferably stupid and it makes their conflict really uninteresting.

The Claremont award for most compelling conflict. Our previous winners for this one are Psycho Pass & Shingeki no Kyojin.

This year’s Claremont award goes to Mahou Shoujo Lyrical Nanoha A’s.

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What makes this conflict so good is that the antagonists are really endearing and have an incredibly sympathetic motivation. You want to see Nanoha & Fate pull through, but you also want the guardian knights to come out okay. You’re legitimately torn between the groups and it makes the conflict really compelling.

The Liefeld award for visual ineptitude. Our previous winners were Aku no Hana & Amada anime Series: Super Mario Brothers.

This year, we’re doing something a bit different and giving two out. One for the film category and the other for the series/OVA category. Our winners are Dragonball Z: Fusion Reborn & Corpse Party: Tortured Souls.

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In the case of Fusion Reborn, the big artistic failing is that the action sequences are weak, which is pretty sad when you have something as action-oriented as Dragonball. In Tortured Souls the big issue is that it looks goofy. The gore effects are overblown to the point of absurd and the monsters just look silly. The artwork takes scenes that are supposed to be intense and makes them unintentionally hilarious.

Next we have the Urbino award for visual excellence. Our previous winners were Nausicaa & Tokyo Godfathers. 

This year, there will be two. One for the film category & one for the series/OVA category. Our winners are Spirited Away & Mushishi.

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Both of these works are really well detailed with some stellar nature scenes and they just look really superb.

The Spencer award for acting incompetence. Our previous winners were the English dub of Sailor Moon & Neon Genesis Evangelion.

This year, the Spencer award goes to Ice.

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Ultimately, Ice suffers from casting several girls who can’t act in major roles and from Ishida Akira’s worst performance. In spite of him being a genuinely good actor.

The Sir Stewart award for impeccable acting. Our previous winners were Black Rock Shooter (OVA) & Mahou Shoujo Lyrical Nanoha.

This year’s Sir Stewart award goes to Glass no Kamen.

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What makes this series stand out are the multiple performances from Kobayashi Sanae & Yajima Akiko as their characters don different asks for the stage. They have to play their own characters, plus the characters their characters are playing and they have to do all of it really well for the series to work. Which they do, brilliantly.

The Perry award for ear-splitting awful music. Our previous winners were the English dub of Sailor Moon & Street Fighter II.

This year’s Perry award winner is Mars of Destruction.

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As much as I love classical music, Mars of Destruction uses it in a very shoddy way, not bothering to match the music to what’s happening on screen. That, in addition to the crappy sound mixing, makes it the worst.

Our final award is the Kloss award for loveliest music. The previous winners were Slayers Perfect & K-on: The Movie. 

This year’s Kloss award goes to Love Live series 2.

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The music in this series really is spectacular and the way the actresses harmonise is superb.

So, those are my choices this year. Feel free to leave a comment with your choices from the list or you can e-mail me at ktuluthedarkone@hotmail.com. Thanks for following me this year and I hope you’ll continue to do so in the following year, even when our tastes are very different. In two weeks I’ll post the reader’s choice winners. Have a happy Valentine’s all.

Five Constructive ways to improve Steel Angel Kurumi 2 & Love Hina

Last time I did one of these it seemed to go over fairly well. Like last time, I’m going to look at something I liked and something I didn’t for this. And there will be spoilers, of course these are both comedic works, or trying to be in Love Hina’s case, so that might not matter to you. You may agree or disagree with me on these, but in my opinion these are some improvements that could be made to these series and they aren’t going to be in any particular order either. Let’s start with the bad one.

Love Hina: 

1. The Harem Aspect: to put it simply, the harem element is really forced. Most of these girls have no narrative reason to be interested in Keitaro. You could cut it down to a love triangle with him, Naru and Otohime and nothing of value would be lost. I know, shocking that a harem series would have contrived attractions to the main protagonist. Maybe next I’ll talk about how it would be better if the characters had personalities.

2. The Characters should have personalities: Honestly, this is part of the problem with pushing the harem aspect so much. Neither the girls nor Keitaro ever develop personalities beyond the banal since the series is more interested in watching Keitaro run around like an idiot and be physically abused by the girls for no good reason. If they’d left the bulk of the girls out of the love nonagon then they could have done something with the character personalities instead.

3. Stop with the Incest: The truly sad part is that even with all of these girls as potential love interests, the incest element didn’t need to be there. Kaolla Su didn’t need to have her significantly older brother try to marry her nor did the solution to that problem need to be him marrying his other sister. Sarah didn’t need to have a crush on her adoptive father and, if we’re including Love Hina Again, Kanako didn’t need to be Keitaro’s sister. She could have been a childhood friend who’d made a promise with him and gone overseas. The only difference would be that Keitaro would have to have another reason for turning her down besides the sibling thing and that would have required him to have at least some personality beyond the boring cliche.

4. Abuse is not Romantic or funny: I shouldn’t have to say that, but Love Hina seems to be under the impression that it’s hilarious when a woman beats a man and that a woman who beats a man must just really love him and it just serves to make the humour and romance both much worse than they had to be.

5. The Bathing Scenes do Nothing: Love Hina includes a lot of scenes of the girls taking baths and there’s really no reason for it, except the obvious cheap tactic to appeal to the straight male gaze. At most these scenes will result in a comedic abuse moment or yet another conversation about how Naru totally doesn’t like Keitaro, Ladies and if you fall for that Naru also has some pristine swampland to sell you.

Steel Angel Kurumi 2: 

1. KarinkaKarinka is the third steel angel in the series. She’s not a bad character, but she really doesn’t do that much. She shows up about halfway into the series, fights with Kurumi, develops a crush on Nako and then shows up in the climax. The series really could have done more with her.

2. The yuri use of sister: I’m not going to complain about a yuri anime having one girl refer to the girl she likes as “onee-sama” or sister as it translates to, even though I find it very odd. My problem with it here is that they don’t do a good job of telling you that that’s what they’re doing when Saki refers to Kurumi like that. Instead, they kind of assume you saw the crappy first series and know it from there.

3. The fan-service: This was my big complaint when I reviewed this series. There are a bunch of scenes with the characters starkers or largely starkers, including several where Uruka gets put in some ridiculous bikini/battle bikini. The series could have used the time wasted on fan-service for better things, like giving Karinka more of a presence.

4. Less Exaggeration: Yeah, this was a slight problem with the acting for the series. There were so many exaggerated comedic lines that it got a bit grating after a while.

5. Sever the connection with the first series: Honestly, the connection between this series and the first one is pretty tenuous as is. There are just some minor allusions. That being said, it really doesn’t need that connection. They could have easily done the same thing they’ve done with Kaon & Himiko vs Chikane & Himeko (yes these are the same writers who did that), had similar characters in a completely different setting. he trouble with keeping the connection is that it makes people like me who hated the first series hesitant to try this one and it probably pisses off fans of the first to have a sequel that basically invalidates any satisfaction that they got from the original’s romance.

Love Hina Again: Now with more incest

This week I’m talking about the sequel OVA to Love Hina, Love Hina Again. But first,let’s go over what happened previously in Love Hina. Blandon is a loser who consistently fails his university entrance exams. He fled his parents’ house where they wanted him to get a job and make something of himself to be the building manager of his grandmother’s girl dorms. Where he was abused by virtually every dull and insipid inhabitant of the building. Being a masochist with a poor idea of what a healthy relationship looks like, he fell for the girl who beat him most often, Narusegawa. After stammering around with the blindingly obvious, Blandon, Narusegawa and Otohime learned the partial truth about their past together at the Hina building but only after having it spelled out for them. And somewhere along the line a twenty five year old wanted to marry his thirteen year old sister but settled for his other sister who was basically his own age. So let’s look at the sequel and see if the romance actually improves. It wouldn’t be hard to do better than the first series, but I’m guessing it probably doesn’t and that this is going to be painful.

Story:

We open with Blandon, Naru and Otohime on the Tokyo U campus, because they all managed to pass the entrance exam. And it only took Blandon and Otohime three tries. Blandon gets his leg broken by his main love interest. Her abusive ways are even worse when we see actual consequences beyond him flying into the distance and coming back without a scratch. Especially since they still treat it as not a big deal. With his leg broken, Blandon misses a bunch of classes. Which makes no sense. A broken leg may hurt and make it harder to get around, but this is set in Japan. They have reliable public transit. It’s not like he can’t reach his lectures and do his course work. It might make sense if they were treating the abuse situation even semi-realistically and he was afraid of being around Narusegawa, but that isn’t the case. It’s played up as him having to skip the classes because he couldn’t possibly take the bus or something with a busted leg. Except that he could, easily, and he’s just being a dumbass. While he recovers, he misses so much of his classes that he decides to postpone starting until next semester and he goes off with Seta to do archaeological digs. While he’s gone, his younger sister, Kanako, shows up at the Hinata apartments and tries to drive the other girls away so that she can have him for herself. Yes, that means exactly what it sounds like. But it’s okay because they aren’t blood related. They’ve just been raised as siblings since they were really little kids. I’m sure that’s not an insulting attitude towards people who were adopted at all. When Blandon returns his sister goes after him with gusto and Naru finds herself having to confront her true feelings so that she can continue to be sociopathic towards him.

So, this series features the same problem with incest that the first had, except that it’s even worse in this one since the Blandon, Naru & Kanako love triangle is the major conflict which results in it being more prevalent of an element. The romance is still highly abusive and we’re still supposed to support the most abusive girl. The first series’ one redeeming factor was that roughly 30% of the comedy worked. In this series, they took that number down to zero. The narrative arc itself is really stupid and predictable, with the ending we all knew was going to happen when we’d gotten a few episodes into the first series.

Characters:

Our cast is just as banal and one-dimensional as they were in the initial series. The only new additions are Kanako and her flying cat. Shockingly, she’s an archetype with no real personality. She’s pretty much defined by her brother complex. Her cat is more of a prop than a character. It can talk, but never has anything useful or interesting to say. Its few lines are basically used to exposit about how much she’s into her brother. Because they still assume that the audience needs everything spelled out for them. The characters are still obnoxiously thick and slow on the uptake. On the positive side, this series is much shorter so they can’t have them flail about nearly as much as they did in the first series.

Art:

The artwork is improved a little bit with the characters looking more detailed and the backgrounds being a bit better. Of course, they still have a real problem with fan-service. They have a short montage scene of Kanako trying to seduce her brother by putting herself in compromising positions behind every door he opens. We also get an up-skirt shot of one of the junior high girls, because class is something for other people.

Sound:

The sound remains the strong suit of the series. We’ve got the same group of talented actors giving a more mediocre performance than you’re probably used to, but still one that lets you hear that they are skilled. They’re joined by Kuwatani Natsuko as Kanako and her performance is on par with the others. You can tell that she’s good at what she does, in spite of her not having anything to work with. The music is pretty decent. Although it’s certainly not as strong as it was in the first series.

Ho-yay:

Love Hina Again does throw in some “lesbians are hot” scenes. There’s one involving Motoko, an alleyway and blatant molestation and another involving Kitsune on the couch and blatant molestation. Kaolla Su also cuddles up to Shinobu for one scene.

Final Thoughts:

Love Hina Again is actually worse than the first series. It features higher levels of incest, no funny jokes, more unlikeable characters, weaker music and slightly improved art. In every aspect that really matters, it fails miserably. My final rating is going to be a 1.5/10. Next week I’ll look at Ginga Ojou-sama Densetsu Yuna: Kanashimi no Siren.

Love Hina: A Masochist’s Fantasy

It’s been almost a year since I was asked to look at a harem series. This one was written by Akamatsu Ken. In the year 2000 it was adapted into an anime by Xebec. You may remember them from Bakuretsu Hunters, Bottle Fairy, Mnemosyne & Zombie Loan. So, about half their stuff I’ve reviewed has been good. I don’t really anticipate this one joining them but let’s take a look and see what happens. Maybe it will surprise me.

Story:

Our tale opens with Keitaro, who I will refer to as Blandon for the rest of this review, our protagonist. He dreams of entering the prestigious Tokyo U, in spite of having failed the entrance exam twice. Why is he so set on this particular school? Because he and the only girl who ever liked him way back when they were really little promised to get into Tokyo U together and series like this have no attachment to reality so promises made when you were five or six are something you remember and still care about fifteen years later. Blandon’s parents are tired of him leeching off of them and they want him to find a job. Despondent over being expected to do something productive with his life, and having been invited, Blandon goes to visit his grandmother at the girls’ dorm she runs. He quickly finds out that she’s scarpered and he was called over to take over as the building manager. Shenanigans ensue as he finds himself surrounding by attractive young ladies who regularly beat him.

The biggest problem is with the romance elements. To put it bluntly, they are horrendous. First off, most of Blandon’s potential love interests are actively abusive towards him. Including Narusegawa, the one we’re supposed to be pulling for. Yeah, I don’t care how much Blandon lacks personality or what a loser in general he is. No one deserves to have an abusive partner. The only two exceptions are a junior high school girl named Shinobu and a ditsy girl named Otohime. The other four girls, plus some side characters, all act like sadists. Is Akamatsu just a masochist? Is the idea of being surrounded by girls who hit him just the ultimate fantasy for him? Even if that is the case you’d think there would be a safe word or something. This series also has an obsession with incest. We’ve got a nine year old girl who’s obsessed with hooking up with her father. But it’s okay because he’s just a relative who adopted her and not really her father. We’ve also got a subplot of Kaolla Su’s brother trying to marry her. But it’s okay because he’s really her cousin who was raised with her as a brother. We’re also expected to ignore the fact that he’s in his mid twenties and she’s thirteen. If Akamatsu really thinks this is romantic as opposed to incredibly skeevy, he really needs a psychiatrist.

The main narrative itself is also really predictable, but it’s going for humour rather than serious story telling so that’s fine. As long as the jokes work. The comedy is mixed, though. There are a lot of stupid jokes about Blandon being beaten because a man being abused by a woman is hilarious. There are also stupid jokes about him doing something perverted or something that just looks perverted out of context, which usually lead to him getting brutalised, of course. There are also some zany comedic bits and those can be funny at times. Overall though you’re probably looking at jokes that work maybe 30% of the time and that’s probably a generous estimate.

Characters:

There’s really not much to these characters. Blandon is your typical harem protagonist who looks plain, excels at nothing and has no personality because he’s there for the audience to project themselves onto. Which is something that this and Twilight have in common with the difference being the sex of the character like that. Personally, I’ve always found that to be rather insulting for a character who’s supposed to stand in for the audience. I know that they do it so that anyone can put themselves in this guy’s shoes, but it’s still expecting us to project ourselves onto a massive loser with no redeeming traits aside from being generically good-hearted. The girls aren’t much better in terms of complexity. They’re pretty much a group of archetypes with no real personalities because, I guess, girls with complexity aren’t sexy? I mean, they might have their own thoughts and opinions on things and that would just be terrible. It’s much better if they’re really bland and super predictable. There’s also an issue in this series with the characters being extremely thick to the point of obnoxiousness. They can’t figure anything out unless it’s explicitly spelled out for them. Especially towards the end where the series assumes its entire audience is made up of morons and keeps repeating the same information so that they can hammer it into our skulls for the climax. Seeing these twits struggle to figure out the blindingly obvious really makes me miss Hyouka and the protagonist’s basic problem solving skills.

Art:

The artwork can be strongly summed up as “meh.” The backgrounds are pretty plain but they work well enough. The action sequences are passable but really repetitive. The character designs are fine. The biggest problem is the fan-service, sometimes involving the junior high girls because class is something for other people. All things considered, however, it’s neither good nor bad.

Sound:

The sound is by far the best part of the series. We’ve got Hayashibara Megumi pulling double duty as Blandon’s aunt and Shinobu’s school friend. We’ve got a lot of other talented actors as well including Horie Yui, Asakawa Yuu, Kurata Masayo, Noda Junko, Yukino Satsuki & Ueda Yuji as Blandon. These are some highly skilled and prolific actors. This may not be any of their best roles but you can certainly tell that they’re a skilled group. The music is really good and I’m not just saying that because most of the lyrical stuff was sung by Hayashibara Megumi. That’s only 90% why I’m saying it. The music is well done though and has a good amount of energy and excitement to it.

Ho-yay:

There’s a bit. There are three scenes of girls sharing kisses, although it’s more played up as being hot because girls are kissing each other rather than being used to illustrate anything about the characters and their sexual preferences. Motoko has a trio of fan-girls who follow her around. There’s also a scene where you see two old guys holding hands.

Final Thoughts:

Love Hina is a stupid, poorly written series. The romance is awful, the comedy has some moments but is largely weak, the characters range from being generic to being really annoying. The only thing that’s really well done is the music and you can easily find it without having to trudge through all the idiocy. My final rating is a 2/10. Next week, I’ll look at Love Hina Again. No, that doesn’t mean I’m going to be re-posting this review. That’s the actual name of the sequel OVA. Because someone thought it would be fun to have me review both this and its sequel. I hope he’s feeling hyper x giddy over that decision right now because I’d like one of us to find joy in this situation and I’m certainly not excitedly anticipating the sequel to this thing.