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Synopsis Jinta Yadomi is peacefully living as a recluse, spending his days away from school and playing video games at home instead. One hot summer day, his childhood friend, Meiko 'Menma' Honma, appears and pesters him to grant a forgotten wish. He pays her no mind, which annoys her, but he doesn't really care. After all, Menma already died years ago.At first, Jinta thinks that he is merely hallucinating due to the summer heat, but he is later on convinced that what he sees truly is the ghost of Menma. Jinta and his group of childhood friends grew apart after her untimely death, but they are drawn together once more as they try to lay Menma's spirit to rest. Re-living their pain and guilt, will they be able to find the strength to help not only Menma move on—but themselves as well?Written by MAL Rewrite. Background Ano Hi Mita Hana no Namae wo Bokutachi wa Mada Shiranai.

Reunites the lead production staff of the 2008 anime series It was first teased in December 2010 as a joint production of Aniplex, Fuji Television, and animation studio A-1 Pictures under the title AnoHana Project. The series is set in the city of Chichibu, Saitama Prefecture.The first Blu-ray volume, which went on sale on June 29, 2011, sold more than 31,000 copies in the. At the time, that first week sales figure was the third highest for a first volume Blu-ray release of a television anime, after (2011) and (2009). AnoHana received a Jury Selection award in the Animation division of the 15th Japan Media Arts Festival.A visual novel adaptation for the PlayStation Portable, which diverges from the story of the anime and contains an original ending, was developed by Guyzware and published by 5pb. On August 30, 2012. AnoHana was also adapted into a special live-action television drama, which aired on Fuji Television on September 21, 2015. Overall8Story8Animation8Sound8Character9Enjoyment8Dealing with the death of a friend or loved one isn't easy, no matter how old you are, and everyone comes to terms with their loss in different ways.

Adults can drink themselves into a stupor in an effort to dull the pain, take off on a journey of self discovery, bury themselves in their work, or find some other coping mechanism. Unfortunately the same isn't true for children, and all too often they are unable to truly deal with the emotional turmoil that occurs.Now it may seem a bit odd to talk about death, grief, and learning to deal with the loss of someoneclose, but essentially that's what Ano Hi Mita Hana no Namae wo Bokutachi wa Mada Shiranai (We Still Don't Know the Name of the Flower We Saw That Day), is all about.The story opens with Yadomi Jinta, a seemingly grumpy teenager who is playing a game in his room on a hot summer's day whilst his childhood friend Honma Meiko (Menma), pesters him repeatedly. Having had enough of the game, Jinta decides to make lunch, but only for himself and his father which annoys Menma no end as she also wants to eat the ramen he has made.It all seems like a fairly normal, everyday scene that one might see in anime, but not everything is as it seems.On the surface AnoHana looks like a fairly straightforward tale of teenagers learning to deal with a past trauma and maturing in the process, and for the most part that's a fairly accurate perception.

The plot is well constructed and takes a measured, almost methodical approach to events which is reflected in the often placid tone of the narrative. Unfortunately this leads to a degree of predictability as certain events in the storyline are clearly foreshadowed, and while the series promotes a degree of empathy for the characters and their situation, there may be occasions where viewers want the story to get to the point.One surprising aspect is the manner in which flashbacks are used to punctuate specific occurrences or emotions, whilst adding historical context to the relationship between Jinta, Menma, and the rest of the 'Super Peace Busters'. These sojourns into memory act as a nice counterpoint to the current state of relations between the characters, and highlight just how much has changed for each of them over the last ten years.This contrast is also reflected in the visuals, and while there is a marked difference in the appearance of almost all of the Super Peace Busters, it's actually the subtle contextual setting that makes the change much more pronounced. The key thing to remember is that people often romanticise personal history and memories, especially if one has undergone some kind of trauma, and AnoHana plays on this by sharpening the focus and darkening the tones on the present day, which contrasts with the soft focus flashbacks that are often filled with 'light'.The design itself is well handled, but while efforts have been made to really highlight the changes ten years can make to a child's physical growth, it's the character animation that stands out.

A-1 Pictures have tried to visualize the movement differences between a child and an adolescent, and while there are a few niggles here and there, the overall effect promotes the sense that the characters are no longer the children they once were.Because AnoHana is a character driven piece there is a heavy emphasis placed on the dialogue, and while the majority of the script is actually pretty intuitive, the manner of speech during the flashback scenes can sometimes seem a bit odd. Thankfully the series has some very talented seiyuu on hand, and it's interesting to note that some of the roles feature two different voice actors - one for the present day and one for the past. Each role is given due care and attention, so it's unfortunate that even with so much talent on hand, there are a few issues from time to time as the seiyuu handling the child roles are all adults. Now while this may be standard practice in the industry, studios like Ghibli have proven time and again that children are much more capable of playing the younger roles than the majority of adults, and while the relatively minor flaws in the dialogue do stand out, one has to wonder how different the series could have been if child actors had been used.AnoHana features a number of slow pieces of background music performed on piano or guitar that reflect the measured plot and add a slightly bittersweet air to the storyline. The opening theme, Aoi Shiori by Galileo Galilei, features a sequence that shows the characters in their past and present forms and hints at the the reason for their emotional difficulties.

Overall9Story0Animation0Sound0Character0Enjoyment0There’s nothing quite like the loss of a loved one for changing a person. We always feel that death is such an alien concept, it exists but is somehow detached and unrelated to our own little world until it comes knocking on our doorstep. Ano Hi Mita Hana no Namae wo Bokutachi wa Mada Shiranai (We Still Don't Know the Name of the Flower We Saw That Day), tries to show us just how powerful an effect death can have on us.The keyword is ‘tries’, and for the most part, AnoHana succeeds.

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It is one of those anime that illustrates perfectly the idea that therelative distance to perfection is inversely proportional to the obviousness of huge, glaring flaws. For everything that AnoHana does just beautifully right, there is usually something little it gets horribly wrong.Before we go on, I would like to state for the record that I absolutely endorse this anime to anyone who asks, reasons which are perfectly illustrated in Archaeon’s neatly succinct review, of which I direct you to. There really is no reason to write another straightforward review reiterating everything he's said when you can just go and see his. Instead, for those who have already finished the anime and are looking for a more critical approach to viewing AnoHana, it may interest you to read further here.There’s no denying AnoHana is fine piece of work. Everything from animation to sound, characterization to story are all quality material and together form both a visually and emotionally satisfying experience.

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The anime is far past the point of debate about whether watching it would be enjoyable and worth one’s while, because it most certainly is. The proceeding point of scrutiny would be to examine the anime at it’s core fundamental level. This is the point where the ‘really good’ pieces of work are separated from the true masterpieces. This is also the point where AnoHana unfortunately falls flat. Specifically speaking, AnoHana’s screenplay just isn’t very good.In fact, considering how well rounded the anime feels as a whole, the screenplay is actually deceptively and surprisingly bad.Okada Mari, one whom I respect greatly for her work on Tordora and Kuroshitsuji is back again; this time she is chief script writer for AnoHana. Unfortunately Mari’s apparent inexperience in writing shines through clearly in the screenplay.

There is no doubt she has talent and a knack for good ideas, which makes it disappointing to see she still stumbles on some basic areas of writing. The narrative for example, is sorely lacking in woven exposition, with the many aspects of the story left feeling one dimensional and underdeveloped (more on that in a moment).The dialogue is also inconsistent; the majority of the time it is written and delivered beautifully, but there are frequent punctuations of awkward, out of place lines that leaves something to be desired. Most of these instances are offset by the talent of the seiyuu who try their best to bring emotion to these parts, but the moments are still unavoidably noticeable. For instance, count how many times this scene happens: Jin-tan glances to his side at Meiko and mutters ‘Menma.’ another character looks at him, confused, and questions ‘Yadomi?’There are very clear distinctions between the lines that have significance to the plot or the character, and lines which are simply conversational pieces, with almost no blending of the two types.

At times it feels like the latter lines have no contextual meaning at all and are simply there to fill in time because the script writer couldn’t think of anything else to write. For an anime like AnoHana where the entirety of the narrative is delivered via dialogue and character interaction, this is a very dangerous habit to fall into.There are many good things that Okada Mari brought from her experience working on the series compositions of titles like Toradora, Fractale and Gosick. Unfortunately one of them also happened to be the abysmal pacing that they all suffered from at one point or another. Naturally, the structure Exposition-Rising Action-Climax-Falling Action-Resolution can’t possibly be adhered to as strictly for anime as it does for say, novels or films, simply due to the episodic nature of anime; there is an underlying need for each episode to be standalone in it’s own right, even if it is meant to contribute to the overall story. However that isn’t to say we shouldn’t at least make an effort.The problem with AnoHana is that it simply tried too hard to be episodic.

Each episode’s substory warranted so much attention that there was very little room left to develop the main plot. Although each individual 24-minute segment was neatly tied into a little package with it’s own structure, which seemed fine at the time of watching, suddenly we reach the end of episode 9 and we realize with 2 episodes to go we’re still on the exposition part of the main story. This is again, partly due to the fault of the narrative not having any woven exposition in itself, relying instead on almost purely dialogue and flashbacks to establish the backstory, an alternative which is both more time consuming and less efficient. (To throw an example out there, think how easy it would have been to tell stories of Popo’s adventures around the world by simply including a few souvenirs from his travels in his little hut. A few frames to easily explore an episode’s worth of exposition, which can then be used to add elements to Popo’s character without the need for spoken exposition.)I am strongly hesitant in calling AnoHana a melodrama. The constant hint of realism in both the visuals and characters suggest otherwise, as does the very real themes that it tries to convey. The anime obviously works very hard to provoke an emotional response and I wonder at times if it is trying a little too hard.

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Not a scene goes by without Yadomi frowning at something, and the prevalence (or rather excess), of falling tears in every episode almost screams at me: “Here is an emotional scene, indicated by the tears. Feel sadness you sheep!” The need for AnoHana to constantly use the act of crying to convey sorrow seems almost shortsighted, and while they are a good tool for reinforcing the emotional instability of the characters, they seem to serve little other purpose.All this cumulatively leads to the biggest flaw of AnoHana: as an anime observing death and how people cope with it, there is shockingly little character development observed. What AnoHana tries to offer instead are single characters at two points in time.

On one hand we have the happy-go-lucky childhood of the super-peace-busters, on the other we have the sullen, withdrawn adolescent individuals of those friends, drifting apart and trying to move on with their lives. At first sight it is amazingly easy to mistake this contrast of past and present for ‘character development,’ however true character development demands something a little more in-depth than, ‘friend dies, people become sad.’ Yukiatsu is arguably the only character who experiences true change,.spoiler alert. in his brief contact with Menma.spoiler alert. he experiences denial, confusion, jealousy and anger, and in doing so, realizing his self-loathing attitude and changing himself. Yadomi’s development is also arguable, though I remain skeptic as to whether what seems to me as merely an overdue self realization can be categorized as development if it were there subconsciously all along.