Keith flick anime12/7/2023 I may not understand why Keith was expositing with jelly filled donuts, but I remember the strangely well animated fillings mixing together, and the contrast between Keith’s detailed old man face and Lily’s more generic anime smile.ī: The Beginning might have been a forgettable mess, but in its most effervescent scenes it was an unforgettable trainwreck: the kind of bizarre product you could only get with a ton of creative control, a lack of a consistent vision, and the aesthetic backing of Terror in Resonance character designer Kazuto Nakazawa and the solid stable of episode directors and animators at Production I.G. I may not remember the specifics behind the genetically altered murderous clowns, but I can’t forget the moment the androgynous clown boy rode a skateboard vertically down the side of building, entering an intense car chase in the process. No other series this year, even among Netflix’s library of weird originals, was so strange, so consistently entertaining in spite of its confusing plot elements. Yet, even though the specifics may be unclear to me (and even though I’m too lazy to rewatch this series to jog my memory), I still think about every so often, especially as the year draws to close. Similarly, I remember a lot of emo clowns on body enhancing drugs running about trying to kill an edgy winged boy named Koku, but whatever their motivations were is also somewhat unclear.įor the record, I watched this series when it came out in March and considering that was only a 9 months ago you’d think I’d be able to recall a few more concrete details about this series. I can vaguely recall a bizarre scene involving the main detective, Keith Flick, explaining to the plucky young officer Lily his theories on the killer’s main crime with jelly filled donuts, but what exactly his metaphors meant is a complete blank. I mean, for as much as I was baffled with it in the moment, most of it has faded from memory. Not because its story was particularly memorable mind you. I mean did you watch Lost Song?Īnd yet, B: The Beginning has stuck with me. Besides Masaaki Yuasa’s exceptional Devilman: Crybaby, I can’t say there was a lot of positive discourse surrounding Netflix titles. Many weren’t critically well received, and as for improved animator wages due to Netflix’s involvement… Well, Sakuga Blog already wrote an article about that. For all the rumblings about how Netflix’s increasing entry into the industry could fundamentally change the way it works, this year’s slate of productions made exclusively for/produced by Netflix didn’t particularly leave much of mark on, well, anything. Most of them passed by in blur, not making much impact or really leaving any impression upon the larger community. Like so many that it’s kind of hard to remember them all. A lot of Netflix originals came out this year.
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