The glow-in-the dark covers are a nice touch.

The Dimension W anime ran for 12 episodes during the Winter 2016 anime season. I liked it a lot more than I was expecting—specifically, good enough that I started buying the manga. It took four years, but I have the final (16th) volume now. This took a bit longer than I would have liked, but the manga itself was still ongoing when the anime ended. (The manga completed in June 2019.) Ideally, there would be less time between when an anime ends and when its source material wraps up. I, for one, would much rather watch original anime or adaptations of properties that have already concluded, but those types of shows do seem to be in the minority. At least four years no longer seems like an extraordinary amount of time to wait after an anime stops airing before finding out how the series ends. I'm not sure if that's necessarily a good thing, though. I have to admit it's a little troubling to notice how fast years seem to whip by now.

Well, this hasn't changed at all.

Surprising almost one one, I'm sure, there are not a lot of plot-specific episodes of Detective Conan. Rather, there are probably readers who may be legitimately surprised to hear that Detective Conan even has a plot. Even though most episodes of the show do not feature any continuity, the anime-original ones are notably inferior to the non-plot-specific episodes that at least still derive from the source manga. I can usually tell when an episode is an anime original, mostly because the mystery's contrivances will be stupid instead of merely silly, and oftentimes characters will do something perplexing simply because the action more easily advances the story from point A to point B. Basically, I'll be watching an episode, and something will happen to make me think it's an anime-original one, and when I check later it will turn out I was right. In fact, I'm not sure I've been wrong yet.

I'm pretty happy Hayashibara Megumi continues to have regular appearances, even if Ai seems sort of bored.

Having a greater ratio of anime-original episodes in Detective Conan now is perfectly understandable, seeing as how the anime has nearly exhausted the available cases from the source manga by this point. One of the secondary impacts, though, is that this means I can no longer reliably use Detective Conan as my control. For those of you who have no idea what I'm talking about, I started rating shows by episode as a goof years ago, but then the chart kept growing and now it's just one of those things I guess I'm going to continue doing indefinitely. But I also can't assume that my rating standards will remain consistent from season to season and year to year. Hence, I used Detective Conan as my control, theorizing that I could count on such a long-running show to remain pretty much as good as it ever was. Therefore, how much better or worse another show's rating is relative to the average Detective Conan score for the same time period would offer a reliable check on quality beyond the numerical scores themselves. This is probably no longer the case if there are more anime-original episodes of Detective Conan now, and assuming the anime-original episodes are not as good. I guess I'm going to need to come up with some other form of sham metric now. Alas.

This was a proof of concept that I will never use
again (because I bought a fourth monitor).

I get the sense I wasn't exposed to a large portion of the shows that aired this season—an obvious consequence of not watching all that much compared to past seasons. Nevertheless, I'm not convinced I actually missed anything, although I do admit a curious fascination with Sword Art Online (despite the profoundly negative reactions to its cour-ending climax). I haven't yet watched a single minute of it, but I have read the first four volumes of the light novels (which I'm expecting the first two cours to cover). Learning that Kajiura Yuki is providing the music has put the show over the top, and I'll probably marathon the summer 2012 segment to catch up with the autumn 2012 episodes. Naturally, this will change my summer 2012 anime summary rankings, but it is late enough already and I can always reflect the addition with an update, so here goes:

Oh God. The doujinshi.

Perhaps I haven't been particularly forthcoming about this, but the most important aspect of a show to me often tends to be its characters, or rather, how well I like its characters. I'll forgive lousy animation, stupid plots, and poor contrivances as long as I like the characters. This is not to say either Tari Tari or Hyouka necessarily suffer from any of these flaws, but it may explain what some people consider inexplicable and inconsistent tolerances on my part when it comes to these sorts of shortcomings.

LISTEN TO MY SONG!

However, I did considerably like Tari Tari more than Hyouka because none of the characters in Hyouka resonated with me. I can respect that Kyoto Animation flexed its muscles a bit with Hyouka and genuinely committed itself to making a standout series over the past two cours, but all the layered depth and unspoken motivations, and developing relationships in that "SHAFT series with money" could not compete with Konatsu's dork rays, Sawa's unwitting-sex-bomb powers, and the refreshingly unstarchy comedy stylings of Wien and Taichi. Wakana deserves special mention as the sometimes emotional, sometimes dead inside, frequently mortified sweet kid cornerstone of an admittedly oftentimes conventional cast.

SPHERE POWERS UNLEASHED!

This is rather qualified praise for Tari Tari, and I concede Hyouka will likely be remembered better (and longer) in the years to come, but Tari Tari succeeds because it is basically is a P.A. Works layup of the sort J.C. Staff used to be able to accomplish reliably. Tari Tari is less ambitious, but it combines (harmonizes?) its different parts well (like a chorus?) with just a touch of quirkiness (and sometimes badminton) to keep things lively. It worked for me. I liked basically every character, even the foppish principal and the assortment of comically evil antagonists such as bitter Big C, the former best friend of Wakana's dead flibbertigibbet mom. I can't quite make the same claim for Hyouka. At the end of the day, I don't really care what happens to Mayaka and Satoshi, or whether Chitanda succeeds in ruining Houtarou's life.

At least Hyouka fans seemed satisfied by its non-ending ending.

What if it turns out I like the characters better because I like the show better, and not the other way around like I've been saying? I guess there's not really a conclusive way of knowing. I admit Hyouka's overt attempts at adding stylized animation for the sake of "look at me!" visual flair's sake annoyed me because I found it so intrusive, whereas Tari Tari is chock-full of audible cues in the form of sudden small cries and startled noises that I found endearing because I get the feeling I was not supposed to notice them. Perhaps I would have liked the characters in Hyouka had they been, say, more conventional J.C. Staff properties. It's a mystery.

I guess this shot is okay considering that David Letterman
used to film part of his show from a monkey-cam.

Hyouka is quite popular even though its mysteries are not profound. However, the mysteries are interesting enough to at least amuse those looking for a hook, although I suspect the show's appeal is mostly due to its characters, not the mysteries themselves. Anyone who claims to like Hyouka strictly for its detective stories is likely new to mysteries in general. So besides the characters, what else is good if the mysteries themselves are mundane? Well, the animation is impeccable from a technical perspective, but even then the direction at times is straight-up terrible the way SHAFT X SHINBO stunt animation is terrible. It sometimes indulges in "creative" framing and different angles that are suppose to be interesting and unconventional. They are, in fact, unconventional in that they break old guidelines of cinematography that I suppose only purists care about these days. Hyouka features wildly framed shots for no purpose other than to be different, and angles that could not belong to any character's point of view are used frequently. (Ironically, Hyouka's own characters attack this very practice during the movie arc.)

Francis Ford Coppola shot this scene from The Godfather over
his cinematographer's objections. (Get it? Get it? Never mind.)

So despite these flaws, is Hyouka good, as in Good with a capital G? Yes, it is. But is it interesting? Well, not always. Most complaints about Hyouka lament that it is boring or claim that nothing happens; the wacky camera angles that annoy me seem to bother those people a lot less. Maybe that's why Hyouka uses wacky camera angles at times: It expects viewers to find some of its content tedious, and feels a need to goose short attention spans with distractions. But if a long conversation in a cafe needs gimmicks to keep viewers engaged, them perhaps it simply runs too long.

A wall with Houtarou's head in front of it.

Although I can easily see how others might think so, I don't personally find Hyouka dull. After all, I was able to marathon its earlier episodes quickly enough to catch up with the current broadcast without difficulty. So where would I retroactively rank Hyouka now among the spring 2012 shows? Pretty low, actually. I'd say after Lupin III but above Sakamichi no Apollon if I only consider the first 11 episodes of Hyouka. (I'm using the eleventh episode as the cutoff somewhat arbitrarily because the ED changes for the twelfth episode, and because 11 is around half of the show's projected 24 21-ish-episode length.) Admittedly, this low position is mostly because the show uses these early episodes mostly for development and comes across much stronger in its second cour once the character development culminates in a better understanding of the motivations and reservations driving the cast's actions. Perhaps I've been conditioned by the single-cour trend to be less patient with character development.

There's more to Satoshi than genki and purses. There's also envy.

This is not to say that allegations Hyouka develops its characters too slowly are not justified. Yes, we discover Houtarou overlooked a serious flaw in his reasoning because his results-oriented personality prevented him from using a people-oriented approach to solving their problems, but should it take so many episodes to learn this? Maybe it's premature and improper to judge Hyouka at this point, since it seems to be building towards a final payoff, but due to the anime's reliance on external source material, there's a chance no conclusion will be rewarding enough to viewers not already enamored with the show thus far.

Conan. Conan never changes.

I am attempting to watch every episode of Detective Conan A.K.A. Case Closed. At the time of this writing it has 570 episodes plus about two dozen movies and OVAs and it is still ongoing. In comparison, watching 161 episodes of Ranma 1/2 or 136 episodes of Naruto is nothing. Even my attempt to watch every single Pretty Cure episode (about 300 and counting plus a new movie every 40 episodes or so) pales in comparison. Detective Conan is an anime juggernaut.

She hath borne me on her back a thousand times.

From the looks of it, it also doesn't change much. I've avoided spoilers, but I have confirmed some of the gimmicks from the very first episodes remain staples well into the 500s. As far as I know, characters don't age or change grades in school, leaving Detective Conan with the ability to basically run indefinitely. As a genre, mysteries are always popular, and Detective Conan has carved out a simple but effective formula that works well. If it ain't broke, don't fix it. Right?

Sonoko is a true friend because she doesn't
get jealous of Ran's awesome hair.

Still, five hundred plus episodes is a little excessive. Considering there is a brutal murder nearly every single episode, you have to wonder if people will start to blame Conan and Ran since bodies seem to pile up wherever they go. Likewise I worry if Mouri will suffer ill effects from being knocked unconscious so often. And why doesn't anyone ever wonder how he talks without moving his lips? Don't get me wrong, it's a fun show; some lighthearted nitpicking just helps balance out the endless series of grisly homicides. But it's clear some thing will never change. Shinichi will never return to his real age, and Ran will never find out. Poor kid. Ran is a real sweetheart, but she's dumb as all Hell.