Baccano (Anime) Is Captivating and Totally Engaging

Baccano roughly translated means “ruckus or stupid commotion.” Which is an apt description for this uproarious show. It’s set in New York City in the early 1930s and is a delightfully unique anime. With its striking animation and magnificent voice actors, this may turn out to be many a teenagers favorite Funimation offering. I know its definitely one of my daughters, and it completely tickles me too.

Baccano can move from kind of gross (blood wise), to tantellizingly goofy, to surprisingly sweet within minutes. With most of the characters being immortals you can expect to see some not-so-subtle scary scenes (yes, some body parts fly…but they do reconnect). But don’t worry, nobody important ever dies, “they just get really big boo-boo’s” to quote the narrator of George of the Jungle.

What really made this anime for me and my daughter were the two ridiculous thieves, Isaac and Miria, played by J. Michael Tatum and Caitlin Glass. We found ourselves waiting with anticipation for them to come back on screen–they are wildly funny in how they relate to each other and to the world around them. Their infectious thrill about life is adorable, and we love the way they say each other’s names before almost every sentence or question.

Another element that gives this show some spice is the fact that they all talk with New York gangster-type accents–plus it’s good to note that the Mafia is one of the focal points, which may be why there is so much blood-n-guts.

All around I’d say (and so too would my daughter) that Baccano is a whacked out crazy ride! The only down-side we found was that it’s some what hard to follow in sections because of the bouncing back and forth between 1930 to 1932. Other than that, it was first rate, top-notch fun. We can hardly wait for the rest of the series to come out. On a scale of 1-4 stars we give it a hearty three.

It would be good to note that this is probably not appropriate for anyone under sixteen. It is rated MA for mature audience.



Source by Jean Dewitt

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