Game enough: Best games of 2020

The last year gave us a lot of enforced downtime. Accordingly, one might be excused for thinking this blog, an all purpose consumer of thrillers, might have found time to partake in certain interactive video sports that were released in 2020: the Lovecraftian experiences “Call of the Sea” or “Transient”; quirky little titles like “Carrion,” “Pumpkin Jack” or “Citadel”; big budget names like “Cyberpunk 2077,” “Doom Eternal” or “Dark Pictures Anthology: Little Hope.

Why is every one of these roundups starting with a list of everything I didn’t see?

To all that I said a resounding negative. No way I spent my dwindling cash flow on that stuff. I didn’t even play indie “Risk of Rain 2,” although that has less to do with it being a sequel to a game I’ve never played and more to do with it being a co-op game to play with friends. Forget friends. We’re in this together, me and I.

Still, I did play a couple of titles, and I’ll relate them below. As always, the better experiences are first and the lesser experiences are the last. However, while this functions as this blog’s best of 2020 for video games, it’s also like a compound review, given how few games there are. Whatever. No one’s reading this anyway.


The title of “Maneater” – man plus eater followed by a lil’ shark maw – is unexpectedly precise. You are a shark in this game, and you can consume the flesh of man. “Maneater” positions itself as a sort of predator simulator, “Jaws” with a sense of dark humor. Effectively it is a platformer without the platforms, a diving and swimming experience rather than a jumping one, with some mild RPG elements and a little bit of power fantasy thrown in for good measure.

It doesn’t feel that way at first, when you’re a baby shark paddling through murky shallows and fleeing from alligators. But the goal is to complete enough game appointed tasks, typically eat so many of this fish or that, until you earn the experience necessary to tackle the alligators. Once you’re big enough to do so, you can break out of the shallows and enter the ocean, where a buffet of exotic fish, aquatic predators and foolish humans awaits.

You might be expecting me to say that that’s the whole plot, but you’d be wrong. Believe it or not, there’s a little bit more to “Maneater.” Your nemesis is the Cajun fisherman Scaly Pete (effectively voiced by Carlo Mestroni), and his poor relationship with his son is on full display. There’s some hints about his own poor relationship with his dad, so there’s a bit of “sins of the father” in the subtext. It’s not Shakespeare, but it’s a more emotional core than one might expect.

Regardless, the developers aren’t expecting you to play “Maneater” for its story. The majority of the gameplay is focused on a rabid collect-them-all mentality. Go to location X on the map and eat 10 of target Y, or kill target Z, which is identical to all the other Z-creatures out there except it has more hit points.

In order to do so, you have a rapidly evolving number of tools at your disposal, from simple bites and dashes early on to…more complex bites and dashes later on. You might not feel your game style progressing as the game does. The shark handles well from the beginning, perhaps a little too well, with tight controls and aggressive cornering. I occasionally wished there was a targeting or lock-on system, but I always found a way to munch on whatever needed munching. If anything evolved, it was how fast the shark could swim, how high it could jump and how hard it could bite, indicated by the increasing amounts of blood, destruction and mayhem on screen.

The game’s atmosphere takes a backseat to its gameplay, but it does its job well enough. For one thing, the dark comedy is fine, even chuckle worthy from time to time. A great deal of that is due to narrator Chris Parnell’s deadpan delivery. The humor is dampened a little by repetition, and occasionally quips triggered by different environmental cues will pile on top of each other, but for the most part it effectively joins the background oceanic swirl.

The environments are well presented. There’s a decent amount of variety, considering you’ll spend most of your time underwater. Some settings – like cluttered sewers and decommissioned water parks – are surprisingly unimaginative, but the open seas and colorful coral reefs are detailed, appropriate and quite pretty.

“Maneater” is also delightfully gory. You have to invest a couple of hours in it, but you’ll go from a shy shark pup nibbling at passing fish to a sea monster, measured in the double digits, who can sink gun boats as easily as inner tubes. Make no mistake, “Maneater” is a more gamer friendly version of the time sinks available on phones. However, it’s a fun time sink, a pretty time sink and a blood-stained time sink, where you get to fling humans 20 feet in the air before biting them in half. I see nothing wrong with that.

Deliver Us the Moon

Why would anyone want to go to space? If the zero gravity controls of “Deliver Us the Moon” are to be trusted, the experience is absolute crap. All that “down and up are relative” and “you have to push off of something” physics can make puzzle solving more frustrating than the puzzles themselves.

“Deliver” is a sci fi flavored adventure game about the not too distant future, where a moon base has been able to provide cheap energy for a starving earth. When the base goes dark, the planet is plunged into an economic and environmental collapse. Humanity cobbles together enough of a space program to launch a single person – the player – into orbit. Their mission is to get to the moon and figure out what went wrong, or at least turn the power back on.

The plot of “Deliver” tries to lean more on the science than the fiction of its genre, and there’s a lot of psychological consideration for the strain of being a moon-person. However, the ensuing drama, while initially mysterious, probably won’t fool anyone who’s read Arthur C. Clarke. Likewise, the acting teeters somewhere between acceptable and community theater awful.

Regardless, the atmosphere is well presented and possibly the best part of the game. Your space explorer is apparently alone, and the empty rooms and flickering corridors of the moon base have a chilly and isolated feel. It’s not quite the too-late-to-the-party atmosphere of the first “Bioshock” or the something-terrible-is-about-to-happen of “Alien: Isolation,” but it feels right for a title that positions itself as a slow-paced and thoughtful mystery. It’s helped by an appropriate score, which is minimalist piano for the most part.

There’s also almost enough useless stuff in the abandoned lockers and board rooms to make it seem like this was a space station populated by people, and not just a set created by a game designer with everything put there for the player. It’s still a little sparse for a once bustling base, and I don’t believe someone living on the chalky surface of the moon would put pictures of said surface above their bed, but I’ll assume the team was working with a limited budget.

The puzzles are mostly smart. They feel part of their environment and seldom obtuse, accessible without being handed to you. That’s not entirely right, because the instructions are sometimes given to you, but it’s done in such a way that feels natural. They’re mostly put-the-things-in-the-right-order puzzles, so they might not please the chess masters out there, but they come across as something you’d find on a sci fi moon base. I won’t complain.

I will complain about the puzzles that take place in zero gravity. You’re typically tasked with figuring things out like an engineer. That’s fine. It feels right and proceeds logically. But then you have to do it with molasses controls and bizarre environmental hazards, like lasers and an esoteric game over I have to assume is the character succumbing to space madness. The game is fine as an atmospheric light puzzler. It is poor as a first-person platformer.

I’ll also complain about the artificial time limits imposed by running out of oxygen. What kind of astronaut goes into space without bringing oxygen?

If you can get over these hurdles, “Deliver Us the Moon” is a cute and slow-paced sci fi mystery. Ultimately, it’s as meditative as its title suggests, atmospheric, average but admirable.

Remothered: Broken Porcelain

Tell me, tonstant weader, have you noticed how a lot of giallo films start largely grounded in reality, like they’re going to be relatively normal mysteries, but by the time of the climax they’re throwing mutant dwarfs on unicycles popping out of swimming pools at you?

Survival horror game “Remothered: Broken Porcelain” is a sequel. And since both it and its predecessor were inspired by the Clock Tower games, themselves inspired by giallo films, it feels like we’re being seated halfway through the movie. Everything looks grounded, but the swimming pool is already bubbling and we’re expected to know what’s going on already. There is an effort at explanation courtesy of a wall of text at the beginning, which is about as subtle – and compassionate to the reader – as an atom bomb.

“Broken Porcelain” is about Jennifer, a young woman who has been kicked out of an all-girls boarding school for unexplained reasons that hint at psychological trauma. Except the school is really an inn, and she’s mysteriously the only patron, trying to figure out why the staff have gone nuts. Except the inn is really a…never mind. The story of “Broken Porcelain” is remarkably patchwork, thanks in no small part to some strange editing choices, with gamers stranded trying to figure out which parts are worthwhile. I suppose that gives everything a hallucinatory quality, but it also makes it hard to care about anything happening on screen.

As a hero, Jennifer can’t even use a phone properly. Her hobbies include stopping and reading everything OUT LOUD while various killers are chasing her, as well as trying to defend herself when caught through awkward quick time events. As far as slasher protagonists go, on a scale of one to 10, she gets a “I wouldn’t bet on this one.”

I’ll cut her a little slack since the puzzles are not great. They seem to hinge as much on manipulating the enemy AI as they do on looking for clues, collecting items and flipping elaborate switches. Which is fine, I guess. It’s not my preferred style of puzzle, I’ll admit, but in this case I’d like it more if the NPCs didn’t bug out on me to a noticeable degree. I found myself reaching for a walkthrough less to see how to proceed and more to see why I hadn’t proceeded yet.

The strongest element of the game is its atmosphere. The design feels appropriately period – it’s set in the 1970s – and everything looks rundown, dirty and ominous. The score sounds like it would fit right into a retro horror flick. Dark and shadow are well used, and the glimpses of light are interesting too, since they only turn on when you get close to lamps… Unless they’re actually only visible when you’re close to them, and it’s less like atmosphere and more like another bug. Hmm.

“Remothered: Broken Porcelain” might be best summed up by the message that appears when you want to load a game. “Do you confirm your action?” it asks. It sounds like its attached to something with great weight or terrible psychological baggage, but I think it’s just a bad translation.

Gap year: Best films of 2020

I had a hard time figuring out what to give the top spot to this year, but not because of the great selection.

It probably didn’t help that this blog missed out on all the big movies. No blockbusters like “Tenet” or “Wonder Woman 1984.” No art pictures like “Nomadland” or Hollywood candy like “Mank.” Not even genre-as-message-picture “Promising Young Woman.” But if I had seen one or all of those, I’m not sure if my opinion would have changed. Nossir, there was little I was excited to see on screen in 2020.

Of course, I did watch a few films, and I found a couple to comfortably call the best . As per usual, those are at the start and the worst are at the finish line. Feel free to let me know where I missed out, where I got it right and, more likley, where I’m horribly wrong. See you there, tonstant weader.

I’m Thinking of Ending Things: If the purpose of a movie is to produce conversation, then perhaps “I’m Thinking of Ending Things” was the best movie of 2020. This tale of a young woman meeting her boyfriend’s parents for the first time and feeling that things aren’t quite right is a psychological drama/thriller by way of both Kubrick’s “The Shining” and Aronofsky’s “Mother!” Maybe a little of “Ghost Story” too, or maybe all of them. Maybe none of them. It ain’t for everyone, but the curious will find a talented cast reading intelligent dialogue to handsome visuals. It’s a little long, the pacing is slow and the ending is admittedly formal. The narrative is broken too, but that’s kind of the point. The naivete of romance, the tragedy of aging, letting go of the past or fantasizing about a future that could have been… I’m not even sure I liked it, but this feels like one that’s worth a discussion.

The Call: Of course, if the purpose of a movie is primarily entertainment, then “The Call” was the best movie of 2020. Its physics all fall apart if you think about it too much, but as a stylish thrill ride, this time travel murder flick is simply great. Clean photography, interesting visual effects and a good sense of place make this more than worth a watch. Also, and I won’t say too much – not that genre fans won’t figure out the twists anyway – Jeon Jong-seo’s performance was perhaps the most enjoyable in a thriller this year.

The Vast of the Night: And if the purpose of a movie is just to move, then perhaps “The Vast of the Night” was the best film of 2020. It certianly might be the most underrated. Everything about it moves well: its clever script, its nimble photography, its young cast. It does get a bit murky at the climax, but what doesn’t? A low key retro sci fi thriller by way of “Coast to Coast AM” for all the radio fans out there. I dig the Southwestern digs.

Gretel & Hansel: From the opening, this film blazes by at a breakneck pace. That sounds like a compliment, but it’s not. The film can’t decide if it’s dark fantasy, psychological horror or black comedy. It finally takes a breath in the second act, which is coincidentally when it appears to settle primarily on psychological horror and when it starts to become actually engaging. Even if the film can’t escape its first third, the photography and color palette are practically peerless – it is Osgood Perkins in the director’s chair after all, and he might be effectively riffing on “The Witch” – the script has some clever lines, I like the performances and anachronisms, and there are some interesting and atmospheric images. Mabye it’s a little high on this list, but I’d watch it again, if only for the colors, dude.

Enola Holmes: Too many endings, but not too bad getting there. A period crime adventure thingy, it’s handsomely produced, sports a solid cast with good chemistry, and is built on a script that’s pretty aware of what it can and can’t do. There are some loose ends, but I assume Netflix is figuring on a sequel. Most of the thrills, laughs and logic feel earned. I don’t understand the necessity of the choppier edits and multimedia bits, but someone must have thought they were a good idea. I also don’t understand the constant fourth wall breaking, but at least it’s consistent. Were we going for Guy Ritchie’s “Sherlock Holmes” or “The Adventures of Sherlock Holmes’ Smarter Brother”? I suppose it’s its own beast.

The Lodge: The slow-burning and wintry look and feel of this psychological horror flick are just right, but the script is not quite there. It’s a few minutes too long, for one. It’s also kind of reductionist – cults are bad and crazy people go crazy – so it never feels like it has a lot to say. The performances accordingly lack depth, but they’re perfect for what they set out to accomplish. It’s pulp, but it’s pretty pulp. Just stick to those detail shots. You’ll do fine.

Sputnik: A political science fiction thriller, if you will, that is surprisingly upbeat… for a Russian movie anyway. Well paced, well lit and photographed, and convincingly acted for the most part. Kinda goofs up with the motivations in the last 10 minutes or so, but overall an atmospheric and interesting spin on the “Alien” narrative.

Goblin Slayer Goblin’s Crown: It’s basically a long episode of the TV series, so you get what you pay for. Do you want to see a violent cartoon about a man in D&D armor promising a young woman with PTSD that he’ll kill all the goblins everywhere forever, and it’s somehow ridiculous, touching, tragic and badass at the same time? Here’s your movie. Good music. Acceptable animation.

Invisible Man: Solid scares and special effects, and a haunting performance from Elisabeth Moss gird this psychological thriller. The updated spin on the H. G. Welles novel is interesting, but credibility is stretched from the start and pretty much snapped beyond repair by the climax. I would have preferred something subtler. Still, crisp photography and a moody color palette carry the tense and often emotional narrative along.

Underwater: Sweet, another “Alien” clone. I mean that sincerely, by the way. This is the kind of thriller I like: controlled and claustrophobic, with tons of well photographed detail shots to break up the action. Pros include organic dialogue, decent performances, excellent lighting, fine monster design and natural suspense. Cons include some unnecessary narration and some generic music. It never quite has the oomph it needs to pull it out of the “bargain pulp” category, but it’s still a bargain.

Palm Springs: Probably the biggest movie I got around to watching. Harmless fantasy-comedy with an obvious “Groundhog Day” feel. Deadpan performances and an irreverent script keep the first half fun, then it gets a little slow with sentimentality. Despite the irreverence, it’s just a romantic comedy with weird fiction dressing after all. It glances at its existential themes rather than examines them, and some of its conclusions feel unearned, but there’s enough fantasist flourish to make it worth a watch.

Tesla: Sort of a metanarrative biopic of the titular inventor. The shot composition is occasionally awkward but more often interesting, and the sets are moodily lit and dressed (think Peter Greenaway lite). Great performances across the board. Too bad the script, while intriguingly constructed, fails to ever settle on a central point.

The Burnt Orange Heresy: This is categorized as an art crime thriller. It is a crime thriller, but only in the second half, and even then the thrills aren’t effectively felt until the last 20 minutes or thereabouts. It has the art thing right off the bat though, so you can look forward to that. Pretty in a workmanlike sort of way, well acted by a talented cast (with a quality surprise performance by Mick Jagger). The literate script probably worked better in the spacious format of the novel.

The Devil All the Time: An autumn stained backwoods noir. The moody landscape is sensitively photographed and populated by well performed grotesques straight outta Flannery O’Connor. A powerhouse cast plays with the layered narrative, which touches on faith, hubris, humanity, responsibility and destiny. Sometimes those layers threaten to devolve into melodrama, but for the most part the ensemble keeps things interesting. In fact, this might be a more interesting film than a good one, but we need a little interest here and there.

Open 24 Hours: The script is cliche – pulpy and playing with some interesting psychological thriller concepts at best, and tolerably trashy at worst – the score is routine and the special effects are just passable, but they’re married to some unexpectedly solid performances, great sets and locations, and wonderful editing and shot composition. Too bad it overdoes things in the climax.

Debt Collectors: A familiar but fun comedy crime thriller about beating people in the head and taking their nice things legally. It’s a sequel, and nothing’s as fresh the second time around I suppose. Or maybe I just miss Tony Todd. Still, the film’s promises are simple, and it delivers on them.

The Babysitter Killer Queen: Another sequel that’s more of the same, in this case more over-the-top splatter, more neon and more hyperactive comedy-horror. The cast is as attractive and game as ever, but the goofiness threatens to crush the high concept this time around.

Rogue: Who woulda thunk a movie featuring Megan Fox as a mercenary with flawless makeup fighting CGI lions in sub-Saharan Africa would be kinda silly? The film could have tried to meet me halfway. The script, by director M. J. Bassett and actress Isabelle Bassett (correct, related), is as uneven as a dirt road, with the tone changing from cracking bad one-liners one minute to grimdark action the next. There’s even a moral at the end. The cast is a mixed bag at best, with the villains probably having more fun. If you do watch it, stick around for the occasionally interesting camera angles and the well designed burning farm set.

Rebecca: Director Ben Wheatley tackling the same topic as Hitchcock seems like a great idea, and the resulting psychological drama looks good, but it does not move right. I’m not sure why, but I have a suspicion it’s the editing (normally Amy Jump handles that for Wheatley, but she’s absent on this production). Or one could blame the script, which cannot quite merge romance and thrills. It’s not the music though, by the ever reliable Clint Mansell. But don’t be a goof like me and think that one song is by Fairport Convention. It’s Pentangle.

Shirley: Yet another weird fiction biopic, this time of psychological thriller writer Shirley Jackson. Well performed – it’s Elisabeth Moss again, so no duh – but muddled. Between the poorly scripted characters and the murky photography, it’s hard to care about much on screen.

Dolittle: What a cast. What a pointless movie. This fantasy-adventure-comedy-creature feature-kitchen sink flick is not the worst, despite the box office and reviews, but anything that has a farting dragon as a plot point is not going to make a short list of the best. Even the natural charisma of both Robert Downey Jr. and Antonio Banderas can’t make this truly watchable. Still, it has the distinction of being the last movie I watched in a theater.

The Last Thing He Wanted: A jumbled and ultimately dull political thriller. Anne Hathaway effectively inhabits her thankless role (the cast as a whole is the film’s best feature), but even she can’t make me care about her character or comprehend her situation. Maybe the book was better.

The Dinner Party: Definitely rough around the edges. This feels very influenced by 2019’s “Ready or Not,” but it lacks that film’s solid sense of humor. It wants to be weird and atmospheric, but the slow narrative and endless outside references leave it overstuffed, draggy and divorced from reality. It doesn’t help that the actors err on the side of over-the-top. It’s about theater people, so maybe it’s supposed to be theatrical?

Homewrecker: A very indie (the cast and crew are a little incestuous) dark comedy thriller. It fails pretty squarely as a thriller, but it might do a little better as a dark comedy. There are a few chuckles spread throughout the brief runtime, the ending has potential and the two leads (Precious Chong and Alex Essoe) do the best they can with a script that grows increasingly silly. However, the movie as a whole is surprisingly… normal. It should have been weirder if it wanted to stand out.

Monstrous: Imagine a psychological thriller with a missing person plot that takes place in bigfoot country and milks its setting for atmosphere. “Monstrous” is not that movie. We get a Sasquatch-vision roadside murder in the first scene, and from then on an awkward lesbian road trip thriller with a violent climax that is, oddly enough, trying to be tender. In case you couldn’t tell, the screenplay, by lead actress Anna Shields, is pretty awkward as well. The pacing is nuts, and the characters don’t behave like people, although maybe they behave like bigfoots. At least the indie rock song selection is pleasant and the photography is nice if you like rural East Coast.

Mrs. Serial Killer: Sometimes my betters make snap statements, like when they say “Mrs. Serial Killer” was the worst film of 2020. For me, that’s not a warning. It’s a challenge. After all, who’s the expert here? Well, they might have been right. Interesting lighting and photography can’t save a ridiculously scripted, strangely acted, uncomfortably blocked and poorly edited thriller that never takes full advantage of its own high concept. And does Jacqueline Fernandez really seem like she’s be both married to and murderously devoted to Manoj Bajpayee? I guess that’s just me being petty.

Unfounded rumors: Best anime of 2020

This blog already said that, out of all the mediums available, we found anime to be the most accessible last year. While we didn’t see an anime for ages in the lineup, there were some very pleasant surprises. A few of them actually. In fact, 2020 might have been more quality than 2019 simply because of how tricky it was to pick a favorite.

Despite my more dedicated viewing habits, you won’t see everything on this list. Things I didn’t get around to include globe-trotting crime thriller “The Great Pretender,” historical mystery “Moriarty the Patriot,” disaster saga “Japan Sinks,” cyberpunker “Akudama Drive” fantastic noirs “No Guns Life” and “Dorohedoro,” or supernatural dramas “Wandering Witch: The Journey of Elaina” and “The Day I Became a God.” Phew. Sorry about that. Feel free to get mad at me in the comments if I screwed up and missed out.

Don’t take the top spot below as the clear winner. As usual, the best will be one of the first few, with quality decreasing in an impressionistic sort of way until you reach the bottom, which is probably the worst of the year. So what was the best?

Gleipnir: Probably this was the best anime of 2020. It captured that old school vibe I always appreciate: sexy, cheerfully violent and gross, with some decent visual flourish. On the surface its plot of “people with superpowers try to find the magic coins before everyone else does” is pretty familiar, but dig underneath and you’ll find good pacing, solid fight animation and multifaceted characters making decisions with real consequences. As a whole the show is intriguing, occasionally thoughtful and unafraid to embrace darkness. “Gleipnir” is easy to pick up, but it’s the depth it offers that will keep you coming back. That combination of accessibiliy and intelligence should please a variety of fans.

Magia Record: Or maybe this was the best anime of the year, although I’m admittedly a sucker for all things “Madoka Magica.” It helps that this show – a kind of sideways sequel – features just enough of the original cast and crew to intrigue without overshadowing the new story. That new story was penned by the old design team, who also handle the direction, and the result is as visually interesting and intricate as before. Also, Claris is back to do the ending theme. I’m satisfied. Like its predecessor, it’s a magical girl show. The writing is a little less sharp, but it’s still offbeat, and a sense of impending tragedy surrounds the proceedings. It ends on a cliffhanger that certainly feels as messed up as the original show, but it’s a different kind of messed up, and isn’t that what we want from our sequels?

Talentless Nana: Actually, maybe this was the best anime of the year. Pulpy and high concept for sure, and the show’s plot starts to fall apart the minute you begin analyzing it, but we’re not here for that. We’re here for intrigue, mind games and character interactions, and those are first order in this teenage sci fi murder drama. One always knows what’s coming, but how we get there is surprising while never feeling illogical. Plus, Nana as an antihero is pretty neat. She’s cold-blooded for sure, but she makes mistakes and feels the weight of her actions. The animation is fine and the music is fine too. The melancholy pop song that closes the show is perhaps my favorite ending theme of the year.

Toilet-Bound Hanako-kun: I promise this will be the last anime that was maybe the best of the year. It was definitely the most surprising of all the potential bests. The others were hyped up in one way or another, while this was a horror-comedy about the ghost of a boy haunting a girls bathroom and the thirsty female high school student who becomes indebted to him. And yet, the first few episodes were decently atmospheric. Not just in the animation, which is gorgeous in an art nouveau kinda way, but in the story as well. It’s cute rather than creepy, gleefully immature and pervy, but paced so there’s always the sense of something dark lurking underneath. Then in the eighth episode, the show starts grasping for depth and consequence. I wouldn’t tell anyone to watch seven episodes of something for a payoff, but if you aren’t already scared off by the concept, you should give it a shot. The voice acting is good, and eccentric pop culture references are scattered around (I swear there was a music cue meant to recall “Twin Peaks” somewhere), so you can always focus on those in the meantime. The last episode falls a little flat, but by then, whatever. I’d watch another season.

In/Spectre: This is probably too high on the list, but I have a soft spot for weird and supernatural mystery stories. If you don’t, you’ll no doubt find the plot and pacing get draggy as the season drives on, since it goes deep into the armchair logic of its metaphysically-inclined detective. But if you like that sort of thing, you will be entertained. It doesn’t hurt that the two leads are a classically awkward couple. The cute animation and design, and the playful soundtrack help too.

My Next Life as a Villainess: Some of my betters have described this as a novel and welcome take on the isekai genre. I’ll take their word for it. From my point of view, it’s a harmless fantasy-comedy about reincarnating into your favorite dating game as the femme fatale. Our heroine is clueless, and the show is at its best when she’s whacky or cringey. There’s nothing special about the animation or soundtrack, although the theme song, a power pop song that veers into opera, might be the most fun opening of the year. The show never quite takes advantage of its “Groundhog Day”-esque if-one-could-do-it-all-again theme, but that’s not what it’s trying to do. I mean, I didn’t watch the last two episodes, so maybe everything changes in the climax, but I doubt it (update: I might be utterly wrong on that. If I am, tonstant weader, I owe you a critical review). This show isn’t trying to titillate either. There’s an episode called “Things Got Crazy at a Slumber Party.” I watched it. Things didn’t get that crazy.

Woodpecker Detective’s Office: An intriguing mystery series set at the turn of the last century, where real poets are the detectives, “Woodpecker” never quite lives up to its concept. Part of what hurts is the show can’t decide what it wants to be. Is it a dark detective show? A serious melodrama? Cute poets doing cute things? It’s all those things, but because they never have the time to gel, it’s really none of them. The series frustrated me because, despite never hitting the mark, the writing would show occasional flashes of brilliance. Maybe it’s a case of style conquering substance. No complaints about the expressive and appropriate animation.

The House Spirit Tatami-chan: The misadventures of an unemployed household goddess from the country who moves to a cheap apartment in Tokyo so she can … I don’t remember if she has a goal, actually. Sporting bargain animation and lasting two minutes a pop, this is the most widget series out of everything on the list. In that category, it’s hard to complain about it since it does everything it sets out to do: lampoon contemporary Japanese culture, force out some immature humor and have a kickin’ funky theme song. If that sounds somewhat shallow, it would only take a dedicated viewer one hour to get through the entire season, so don’t complain too much.

Higurashi: When They Cry – GOU: If you told me at the top of 2020 that a pervy comedy about a ghost in a high school bathroom would be a better horror anime than the sideways sequel to “Higurashi,” I don’t know what I would have said. But that’s what last year was like. I still haven’t finished this (the season is ongoing as of this writing), but it plays like a safe riff on the 2006 series. You know the drill: school kids frolic in rural Japan until someone they know goes nuts and murders them all. Rinse. Repeat. “Higurashi GOU” lacks both the highs and lows of the original, which includes that series’s edge and psychological depth. It gets a little more intriguing and intense and it goes along, so while the 2021 continuation might end up resulting in a competent scare series, it’s probably too late for it to be a masterpiece.

ID:Invaded: A sci fi detective drama about future cops who dive into the reconstructed minds of killers. It’s cool to see those minds being rebuilt and picked apart by the detectives, but outside of their dreamlike environments, the show is a fairly routine police procedural. In case the brevity of this review wasn’t clear enough, this show is competently produced and fun enough in the viewing, but pretty predictable and quickly forgotten after the credits roll.

Hatena Illusion: I’ve already admitted I didn’t finish every show on the list so far, but I did finish “Hatena Illusion.” Why? Out of all of them, why? This bills itself as a kind of mystery-comedy with elements of professional magic and supernatural hand waving, and I guess the target audience is girls? It still has a ton of fan service, right down to the episode that ends with female characters of various breast sizes hot tubbing together. Between that and the endless winks at anime fans, it almost comes across as pleading. Was that the point? Why is this anime producing so many questions? If anime is nothing more than cute escape, I guess that this is the best anime of the year. It has stiff animation, a laughable script and a presentation that is almost artful in its stupidity, and yet I kept watching. It must have been doing something right.

Darwin’s Game: Imagine the high concept of “Gleipnir,” except drained of all the intelligence and interesting visuals. That’s “Darwin’s Game.” The first episode is the most engaging, with a lot of goofy curveballs flung at the viewer, and then it simply cannot live up to it for the rest of the series. The characters are mostly dull and shallow, with the few interesting ones getting shoved to the side or killed. The pacing is pretty bad, illustrated in part by a few too many endings, so the intrigue never sticks. At least the animation in some of the fights is pretty good, and about as well choreographed as your average kung fu flick.

Ghost in the Shell: SAC_2045: Do you remember when “Ghost in the Shell” inspired things like “The Matrix”? Well, this edition in the franchise features a black suited and sunglasses wearing secret agent named “Smith” who definitely does not look at all like Hugo Weaving. I guess we’ve come full circle. If you’re an anime fan with an internet connection, this blog doesn’t have to tell you about this show’s janky CGI animation. We can add that the direction is generic, there are plot holes one could drive a truck through, and, while this might be petty, I don’t like the Major’s design. She looks like a child. All the classic “Ghost” voice actors are back for the dub and they’re as good as ever, so you can always stick to that if you’re a fanatic. There are some intelligent exchanges scattered around the script, and the intrigue does pick up in the season’s second half, but it takes forever to get anywhere interesting. I couldn’t bring myself to finish it, so good luck with this one. The most engaging part of the show is appropriately the ending credits, which feature a perfectly chilly song by Mili.

Sing “Yesterday” for Me: Beautiful, fluid animation cannot save this absolutely boring melodrama, which goes nowhere and goes there for episode after episode. I tried to get through this one more than once, and I gave up every time. Maybe it gets better, but I don’t think so. Some choice lines cannot save the plodding script, which squeezes the bite out of everything. And that gorgeous animation is wasted on dishwater dull characters that don’t seem to care about their circumstances, leaving me to feel the same way.

Please accept my fond excuses: News March 2021

Hey there, tonstant weader. Sorry for the break. Just taking care of some personal stuff. Nothing intertwined with the geopolitical landscape; just personal stuff. Trust me, you wouldn’t be interested.

I will say this. Someone needs to tell the neighbors that dog shit does not go in the blue recycle barrel. That’s for recyclables. It says so on the lid. I understand that the color coding might be difficult for some people to grasp, seeing as how there are more than one colors to remember. At best you’re being really hopeful that your dog’s shit is, somehow, recyclable. At worst, I’m pretty sure it’s illegal.

I think. I don’t know. I’m not a lawyer. However, I am apparently powerless to control my surroundings. Whatever.

Greetings all. It’s your favorite D-list media reviewer who reads way too much into thrillers. The Golden Globes happened relativey recently, so I guess it’s the time of year when this blog will go through its best of 2020 lists. Anime fans take heart, cos your list is coming up first. Anime was one of the most accessible mediums in 2020, so we went a little nuts.

That list will likely be followed by the movies – the ones we were able to see. Trust me, the list is nothing like last year’s, which was unnervingly exhaustive. We still got in some quality thrillers though, so if you’ve been dying to see what you should have seen, stick around.

Last will be video games, which is definitely going to feel a little shrunken. Maybe we should say “selective.” I’ll explain when we get there. Suffice to say it’ll be closer to a compound review than a best-to-worst list, but there will still be some things to talk about.

I take a couple of months off to return and tell you I’ll be doing something I do every year anyway, but then I don’t actually do it – I just tell you about it. That’s not very satisfying. I’m sorry.

What else can we talk about? There was an anime I had been thinking of doing an episode-by-episode analysis of, but in order to do the sympathetic reviewing-episodes-in-the-order-they-aired-10-years-ago thing I should have started in January. I dropped the ball that no one knew I was carrying. I’m still figuring out what to do with that one.

In the meantime, I found some creaky old horror movies and creaky old mystery games that are worth a few words. I sense a month of retro reviews in the not too distant future.

And, hey, we’re truly in a new decade now, despite all those line-cutters who put together “best of the decade” lists in 2020. I, who so well know the nature of your soul, recognize that’s what you’ve been waiting for: the same list but in 2021. So maybe that’s coming up too.

That’s all I got. What are you hoping to accomplish in 2021, tonstant weader? You can comment below. Or just wait until I get back with some actual content. Either way.