Reviews

Berserk spends twenty-four episodes building the Band of the Hawk and roughly twenty minutes destroying it.

That is the cruelty of "Time of Eternity." Pippin, Corkus, Judeau, Gaston and the nameless soldiers who followed Griffith across Midland do not die in a glorious last battle. There is no final charge and no heroic defeat, not even a chance to understand what Griffith has done to them. They are branded as sacrifices and fed to monsters because the man they built their lives around decided his dream mattered more than theirs.

The episode doesn't just kill the Band of the Hawk. It takes everything the previous twenty-four episodes taught us to care about and turns it into meat.

The Golden Age ends here

Episode 24 gave Griffith the choice. Episode 25 makes everyone else live with it. The God Hand have named the price, Griffith has accepted, and every Hawk caught inside the Eclipse now carries the Brand of Sacrifice, marking them as offerings to the apostles gathering around them.

Guts still can't accept that the decision was Griffith's. He fights toward the shell forming around his former commander while the God Hand calmly explain that human strength no longer means anything here. That may be the final insult. Guts has solved almost every problem in his life with force. He survived a childhood among mercenaries, cut through a hundred Tudor knights, killed General Boscogn, fought Zodd and lived. When Griffith fell apart, Guts came back and helped drag him out of a dungeon built to erase him.

Vampire Hunter D: Bloodlust begins like a kidnapping story and spends the next hundred minutes proving that almost everyone misread the kidnapping.

Charlotte Elbourne is gone. The vampire Meier Link took her from her home in the night, her wealthy family wants her back dead or alive, and they will pay an absurd sum to make it happen. The legendary hunter D takes the job, while the Marcus Brothers take the same bounty and turn the rescue into a race. That's the story everyone thinks they're in.

Then Charlotte throws herself into Meier's arms. She wasn't waiting to be rescued. She loves him.

That one complication turns what could have been a beautifully animated monster hunt into something far more interesting. Bloodlust is still full of vampires, mutant assassins, exploding bodies and haunted castles, but underneath the gothic machinery is a surprisingly simple tragedy about people who have already decided what a monster looks like.

From Demon Deathchase to Bloodlust

Bloodlust adapts Demon Deathchase, the third novel in Hideyuki Kikuchi's long-running Vampire Hunter D series. It wasn't the first attempt to animate D. The 1985 Vampire Hunter D film had already introduced anime audiences to Kikuchi's far-future frontier and the half-human, half-vampire hunter wandering through it. Fifteen years later, Madhouse came back with Yoshiaki Kawajiri, and that matters.

Kawajiri had directed Wicked City, another Kikuchi adaptation, and Ninja Scroll, and Kikuchi's world is almost perfectly built for his instincts. It is part Hammer horror, part Western, part post-apocalyptic science fiction. Ancient castles rise over wastelands crossed by mechanical horses. Vampires live beside machinery advanced enough to reach space. Mutants hide in shadows and fold their bodies into the scenery, while D rides through all of it looking like someone dropped a Yoshitaka Amano illustration into a Clint Eastwood movie.

There is a point in "The Terrifying Secret" where Kakuzu stops looking like a man.

Kakashi has already driven a Lightning Blade through his heart. That should have ended it. Instead, one of the masked creatures that crawled out of Kakuzu's back took the hit in his place, and Team 10 realizes it has been fighting something much stranger than an unusually tough shinobi. Under the cloak and the stitches, Kakuzu is a collection of other people.

Five hearts. Five lives. A body held together with black thread and borrowed organs.

Then Hidan walks into the forest, draws a ritual circle in blood and gets ready to murder Shikamaru by stabbing himself. Somewhere around here, Naruto: Shippuden apparently decided Episode 85 was a horror show.

Where it came from

"The Terrifying Secret" adapts Chapters 335 and 336 of Masashi Kishimoto's manga, deep in the Akatsuki Suppression Mission. Asuma is dead, Shikamaru has stopped grieving and started planning, and Kakashi has taken the surviving members of Team 10 out to hunt the two Akatsuki members responsible.

Kishimoto supplies the bones. Kakuzu's five hearts, the organs he harvests from the shinobi he kills, his offhand claim that he once fought the First Hokage, and Shikamaru splitting Hidan away from his partner are all on the page. What sets Episode 85 apart is how hard the studio works to make that material move.

For twenty-four episodes, Death Note asks one question: which of these two men finally beats the other? Episode 25 answers it, and the answer is not a better deduction. Light never fools L into believing he is innocent. L is still suspicious, still pulling at the loose threads in the notebook's rules, and still moving toward the one experiment that would destroy Light's alibi. Light wins because he understands something L can never turn into evidence: Rem loves Misa enough to die for her.

So Light builds a situation where Rem has exactly two choices. Let L catch Misa, or kill him.

Where it came from

"Silence" adapts the end of the manga's first great Light-versus-L battle, reaching the events of Chapter 58. The outcome belongs to Tsugumi Ohba and Takeshi Obata: Light puts Misa back in danger on purpose, L moves to test the fake thirteen-day rule, Rem realizes she has been trapped, and Watari and L both die when she writes their names.

The anime does not simply copy those pages. Series composer Toshiki Inoue wrote the script, series director Tetsurō Araki storyboarded it himself, Mitsuyuki Masuhara directed at episode level, and Takahiro Kagami and Hideki Inoue handled animation direction. Araki takes the manga's abrupt turning point and builds a funeral around a man who is still alive.

It starts before anyone dies. The episode keeps returning to bells, rain and quiet, the sense that L knows something has shifted even if he cannot say how it ends.

The first thing Blood+ shows you is a girl who can't clear the bar.

Not a monster. Not a katana. Not a spray of blood across a classroom window. A high school track athlete in Okinawa, missing her jump, laughing it off, going home to her family's bar for dinner. If you came in off the back of Blood: The Last Vampire expecting the cold, feral Saya who opened that film by putting a blade through a man on a subway car, the premiere of "First Kiss" is a deliberate slap in the face. Saya Otonashi eats too much, sleeps too much, and needs regular blood transfusions she doesn't understand. She's sweet. She's goofy. She has no idea what she is.

That's the whole bet. Fifty episodes ride on it, and Episode 1 is where Production I.G puts the chips on the table.

Where it came from

Blood+ is an anime original. No manga came first. Asuka Katsura's Blood+ manga launched in Monthly Shōnen Ace in July 2005, three months ahead of the broadcast, but it covers the same story events as the anime and ran as a companion, not a source. The show had no readership to serve and no blueprint to betray. Every choice in this episode is the studio's own.

The ancestor is Blood: The Last Vampire, Production I.G's 2000 film. Blood+ borrows the name Saya, the chiropterans, the sword and the Okinawa setting near an American air base, then throws out almost everything else. It plays closer to a reinterpretation than a sequel, and the person standing in the middle of both is Junichi Fujisaku.

Fujisaku was one of the core members of Team Oshii at I.G. He helped create The Last Vampire alongside Kenji Kamiyama, directed its video game and wrote its novelization. He wrote seven scripts for Ghost in the Shell: Stand Alone Complex and three more for 2nd GIG. Blood+ was his first job as chief director of a TV series, and he didn't delegate the opening. Fujisaku is credited as director, series composition and scriptwriter on Episode 1 itself. The man who wrote the original Saya's novel sat down and wrote her replacement's first day.