Rampo Kitan: Game of Laplace - Wikipedia
Rampo Kitan: Game of Laplace is an interesting series. The end result is a compelling stew that works better as a character play than one Rather, it's about the stories and relationships that serve as the foundations of the mysteries. (アケチ Akechi), is a protagonist in the anime Rampo Kitan: Game of Laplace. who he seems to have a former relationship with but still consults for advice if. 乱歩奇譚 Game of Laplace | Ranpo Kitan: Game of Laplace. Relationships: Akechi Kogorou & Hashiba Souji & Kobayashi Yoshio · Family Relationships AU post-end of anime; Warning: Short and translated from French.
But it is so silly because of how contradictory it is. The precedent had already been set: The theme on unpunished crime is too one-sided Ranpo Kitan also has a glaring problem with just the tale it is telling.
Instead, what occurs is a lot of stagnation. The crimes are, at best, semi-related to Twenty Faces, so when the Twenty Faces conflict reaches its climax, it comes out of nowhere. Build-up is further squandered when the anime interrupts the conflict.
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Episode six is too comical and too unrelated to the overarching plot. And episode ten, while expounding on Namikoshi and hence the origins of Twenty Faces, disrupts the tension that was finally being created. This law coming out of nowhere is a problem, but the biggest problem with this law is its scope.
As an omniscient law, it is never wrong, meaning the narrative gets to do whatever it wants without consequence. The ending also has issues. Rather than gracefully concluding the season, Ranpo Kitan tries way too hard to wrap everything up. The attempt made is a bunch of words without fully showing the aftermath, acting as a sort of catch-all to cover its bases. But the ending does not stop there.
As the characters discuss, Namikoshi is possibly still alive, which is ridiculous. Not just because he has now pretended to die for the second time, but also because the entire purpose of the ending — the reason why Namikoshi went through this overly complicated crime — was to, in the end, kill himself.
So when the anime nonchalantly states that the main antagonist is still alive, then everything throughout the season was for naught. Even the tone of the anime is problematic.
The crimes depicted are dark, yet the anime regularly dips into comedy. For instance, Minami, the doctor, is regularly used for comedic effect with her joking about the violent deaths. The idea is that the contrast is supposed to be funny, but because the anime is too serious when it comes to its subject matters, the contrast is less hilarious and more jarring. Multicolored lighting and nice shadows are used, but its best move is embracing its weirdness, creating scenes that bend reality at will.
Impossible proportions, impromptu objects, and involved symbolism are just a sampling of the ways in which the anime depicts its scenes. Curtains, spotlights, and fourth-wall breaking are used to make elaborate, stage-like creations to explain the crimes and events. The show even goes so far as to have the characters viewing the explanations as if they were watching a play. Since the crimes are a spectacle, presenting the anime in this fashion is not only interesting but also quite fitting.
When Ranpo Kitan is not focusing on the imaginary, the anime can look pretty dull.
Although that is sort of the point. Stage-like scenes give the art some much-needed flair Another cool detail is how the anime presents uninteresting people. The most interesting case, however, is when the anime draws them as outlines with faded colors. Light grays, pinks, and greens cover the people that are currently uninteresting, including the main characters.
He is disinterested in the world, so much so that the people he does not care about — the people he finds uninteresting — receive this faded treatment. Unfortunately, the character designs are a step down, mainly due to their plainness. Akechi wears dress clothes with a red tie, but he looks a bit too old for his apparent age.
Hashiba is similarly plain; besides his glasses, he has no outstanding qualities.
The paper bag symbolizes his ability to disguise himself as anyone he wishes, disguises that he regularly uses. Hanabishi, the teacher, has a strange design with cat ears, pink colors, and a short stature, although why her design is like this is never explained.
Altogether, even giving Shadow-Man the benefit of the doubt, the designs lack the necessary appeal to call them impressive. As for the actual animation, there is a moderate amount. The elaborate scenes are most likely the culprit for this, since they are more for show than they are for movement, although they can have moving parts and shiny sparkles. Hair, eyes, and limbs hardly move, and besides Akechi fighting some bad guys, there is not a whole lot of action. Kobayashi, the main protagonist, starts off well-enough but quickly tapers off.
As if life had nothing to offer. That is a sad thing for a junior high school student to say since the world has so much in store.
It is not until he is framed for a murder that he finally finds the calling he had been searching for. He then starts working with Akechi, this work considerably lifting his spirits. He is always present, but he does not stray far away from his characterizations of solving the crimes and acting carefree. So when the finale comes around, and he is ready to commit suicide, it is perplexing.
Not only was he finally enjoying himself, he had Hashiba, he had Akechi, and he had his ability to help solve those heinous crimes. There was never any indication that he was contemplating suicide let alone regressing back to his earlier thoughts. Namikoshi is likewise a weak character. Namikoshi does not enter the series until midway through episode eight out of eleven and very briefly at the end of episode nine.
All of episode ten is spent on characterizing and developing him. This episode shows everything: Doing this characterization and development so late is a major issue because the audience has no time to understand him as a character. He shows up, he gets developed, and then he disappears, all within the span of essentially a single episode. What Namikoshi is ultimately meant to be is a parallel to Kobayashi. Both Namikoshi and Kobayashi felt left alone by the world around them. Both Namikoshi and Kobayashi were intelligent in ways that few others knew.
And most importantly, both Namikoshi and Kobayashi had a best friend that, no matter their troubles, would fight to stay by their side. This parallel is supposed to exist between them, however, it is poorly handled.
Namikoshi appears at the end their relationship has no foundation and Kobayashi no longer feels the same way as Namikoshi his actions and demeanor throughout the season prove this.
So not only are Kobayashi and Namikoshi weak characters individually, but they are also weak on a relational level. Shadow-Man is the most interesting and unused character of the anime Other relationships have problems as well.【Beldiner】【Ranpo kitan: Game of Laplace Ending】Acoustic ver. Fandub latino
Akechi and Kuro Tokage — the masochistic, psycho woman in prison — presumably have some kind of past. But how they met or what kind of relationship they had is never explicitly shown. Hashiba pesters Kobayashi and saves him from certain death, so he clearly cares for Kobayashi.
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There are a few scenes in which Hashiba and Kobayashi interact in a meaningful manner, but they amount to nothing more than small apologies or asides. The result is the awkward relationship they share.
Besides this fact and that he comes from a rich, gambling family, nothing else is known about the best friend. Hence, the best character is Shadow-Man, though even he is not without problems. His hobby is protecting little girls from would-be criminals, though people misread him as a pedophile. He is undoubtedly the most unique character the cast has to offer, yet as is common with Ranpo Kitan, the anime fails to use him.
I don't understand why, but I did promise I wouldn't do it anymore, for you Hashiba-kun. Tell him that he can't just say that! Do take extra care in cherishing your He may not need to drink the stuff with his pills anymore in order to try and dull the pain, like he used to, but now he was completely hooked. As for Kobayashi, he had had the time to change his cute clothes at least five times, while Hashiba had changed colors just as many times - sometimes discovering previously-unknown shades of red.
The detective never would have thought he'd gain a couple of assistants overnight, the both of them so bright, and one of them whose potential he had apparently underestimated; Kobayashi had a unique view on things that often offered the new angle of reflection he needed, while Hashiba gathered the data that would be essential to the resolution of the case, and at an impressive speed.
The first time he had lost Namikoshi, he had sworn not to ever get attached again; but he barely had the time to fall once more into solitude, that he had met two strange specimens on a dismemberment case.
The androgyn with a never-ending curiosity for the macabre, and his mother hen of a class rep. Several cases solved with those two clinging to him, and it was way too late for him not to get attached: If you're still alive somewhere out there, know that I found two people you'd probably be at least as interested in as I am. Even if you don't like them in the beginning, you'll see that they're quite stubborn, mostly Kobayashi - well, at least if you catch his attention, but I think you might have done that already, what with jumping off a building together.
And Hashiba- he'd surely be worried once he'd see your injuries - because if you're alive, you musn't have wriggled out of this mess unscathed -; he's that sort of person after all, even the police didn't stop him from seeing his best-friend. To be honest, I wish I'd had his courage back then, and maybe then everything would have gone differently. At last, he slept. Yep, not much I know.