Vampire Knight Guilty

Having recovered from the injuries he had sustained, Zero returns to Cross Academy to resume his role as prefect. Though, not long after he resumes his role, members of the Supreme Vampire Council ambush Zero with the intent to execute him for the murder of the pureblood, Shizuka. Luckily when Kaname intervenes, he sends the council away and insists that they stay out of school affairs. However, whilst Kaname continues to hide the truth about Shizuka's death, there are others who grow suspicious of what happened that night and what the dorm president is hiding. Meanwhile, Yuuki begins to have flashbacks, leading her to investigateher blood-stained past: what will she find, and will she continue to be tempted by an offer from Kaname? Now on to the review and I hope you and enjoy reading this review and I hope it helps you's in anyway. Aha, late to the party I know. Anyways, lets get started: Story (7/10) Built upon a sturdy foundation of shoujo clichés and pretty animation, Vampire Knight Guilty is a lot of fun without being particularly elegant. Moreover, as the second instalment in a successful dark shoujo series, it brings the story of mysterious vampires and tragic love to an agreeable conclusion. For most, VKG’s main attraction will always be its contrivances, clichés, and ham-handed delivery of the romance. Consider the corniest scene involving vampires possible (OMG he licked her neck! *squeal*), then set it to repeat across several episodes. Throw in hints of homoeroticism for extra tang and some half-baked lore, and VKG gives the impression that it’s not so much animated as churned. Indeed, the series makes no claim to originality or wit, but it manages its cheese surprisingly well, and, on balance, turns out to be more interesting than irksome. Nevertheless, buried amongst all the silly love triangle stuff, there’s still that core of well-executed mystery keeping the story afloat. Crucially, VKG knits together much of the political threads left hanging by the first season: after lurking in the shadows so long, the Vampire Council finally takes centre stage, as does a newly kick-arse Headmaster Cross, and Kaname’s true intentions become clear in a gasp-worthy twist. One true disappointment, however, is that, despite wishing to portray a violent clash between the various factions, VKG’s battles look and feel anything but. The static sequences are usually over before they’ve begun, and attempts at spicing things up with flashy gimmicks just look forced. Even the finale can’t escape this flat-lining of tension as everything generally happens too fast and too easily. As a final note, ardent fans of the manga should brace themselves for a slight but significant reinterpretation of Zero at the end. No doubt, it will send a few spitting in rage. Art (7/10) Like Vampire Knight, VKG looks very pretty, with lush colours and attractive character designs perfectly catered towards the shoujo lovers. Regrettably, it also adopts VK’s disregard for movement. While VK is predominantly drama-based, VKG relies on fighting sequences during some of its climactic moments; the insufficient number of frames, straightforward camera angles, and uninventive choreography, therefore, only lessen their impact. Sound (7/10) The cheap pop opening and closing themes add nothing to VKG’s charm. The score, on the other hand, though mostly generic (aimless tinkering on a piano, queer string instrumentals, that kind of thing), still holds one or two surprises. The most useful additions include the sound effects subtly used to heighten the spooky ambience; for example, the sudden rush of cymbals during particularly tense exchanges goes a little way to enrich the viewing experience. Characters (6/10) With fewer comedic scenes to add colour to Yuuki’s personality, the effects of her clueless vulnerability and passive nature leap from uninspiring to outright disgusting. Taking the initiative and driving the story on her own merits is certainly beyond her as she stutters and sighs her way through every conversation. Most irritatingly, she’s the kind of contradictory character who speaks of saving others whilst constantly needing protection herself. As such, providing entertainment falls to Kaname and Zero. While Kaname wields his mysteriousness like an expert by throwing a dark and truly unexpected spanner in the works, Zero escalates his catalogue moping (seemingly, just because he can). Neither ventures from his archetypal pigeon hole, but both remain engaging, nonetheless, because of their anguished backgrounds. The other good news is that Kaname’s previously nameless hangers-on get fleshed out and become more relevant to the plot. In particular, I find the exploration of Aidou’s friendship with Kaname to be an interesting addition to the character development. Overall (7/10) VKG will prove the perfect fix for fans addicted to a sugary diet of bishies, immature angst, and romanticised horror themes; competent central mystery aside, those elements are its forte. For anyone looking for substance and/or action, however, the show will leave a distinct ‘Is that it?’ feeling as anticlimactic fight scenes and an insipid cast dog the plot. On the whole, VKG may not feel as fresh and exciting as its predecessor, but it remains at all times a fun and easy romp to follow.

There are no spoilers in this review, so it can come off as vague, but I didn't want to spoil anything for those who may read it! In my own list, I rated this as a 10 purely because I really, really loved it. But being more realistic, I think that in general, this anime is more like an 8 out of 10. I don't really understand the complaints about the romance. Yes, it's angsty at times, yes, it has some cliches. But this is literally a romance anime targeted at younger girls. If you have a problem with that, why would you watch it orrate it negatively? Ok, so now that I have that out of the way, I guess I'll go more into the series itself. I watched the first season because someone recommended it to me. I wasn't aware of what it was about, or what shoujo even was. I was pleasantly surprised at the lack of cleavage shots and other annoying things that typically occur in popular anime. It started out a little slow, but I love vampires, so I kept watching, and I'm glad I did. The first season was pretty good, but nothing special. In my person opinion, the second one blows it out of the water. It is NOT confusing if you pay attention. The characters DO have development. I really question whether the people who made these complaints were fully watching the show or not. This definitely captures the feel of a gothic romance anime, but it also has a really good plot and other things to draw you in besides the romance. The second season did have some things that I would have preferred they explained more about because it would have been interesting. However, there were no huge plot holes that I could see or anything they left really unexplained that was necessary to the show. Maybe I'm dumb, but I found myself genuinely surprised by some of the discoveries the characters made and the plot itself, in a good way. I didn't find it overly predictable at all. While there is an antagonist, VKG is more about Yuki, the main character, discovering herself. It continues well from the first season and doesn't seem like a sloppy add-on like some second seasons do (cough cough Black Butler cough cough). I'd talk about the art but it's the same as VK. Pretty, with some exaggerations (Yuki's eyes for example). It also has background characters that get extremely basic designs, like VK. Nothing new. One thing I don't like is how few girls/women are in this show. Perhaps people watching shoujo don't like having women in it? I'm not sure. It just disappointed me that one of the main girls, Luca, is mostly seen as a super jealous/stereotypically catty girl who doesn't like Yuki because of a dude. And the other main girl is the main character. Any other girls don't get big parts at all. But like I said, it's shoujo, so maybe I'm just ignorant of how the genre usually is since I've never watched it before. If you like romance but you also like a good mystery/action/supernatural/gothic anime, I definitely recommend you watch this. It's not perfect if I look at it objectively, but I absolutely loved it, and can't find anything else that comes close to being as fun to watch as VKG, or anything that gives me the same feeling when I watch it.

Story Better than season 1, but still dismal. I liked Yuki's post-traumatic stress behavior, which was the reason I gave this season a try. It was a relief having her emotions at the forefront, instead of the previous season where she was constantly consoling the suicidal Zero. I usually enjoy heroines in torment, but they didn't do much with it. She continued obsessing over Zero and repeating the phrase, "I cannot hurt Zero any more than this" in her monotonous internal dialogues. She also kept on chasing after Kaname, begging him to tell her about her past. This dragged onWAY too long. I can take only so many scenes of Yuki crying and pounding her fists against his chest while he goes, "Yuuki," in his sad voice. Unlike season 1, there was some buildup to the final events, the villain was decent, and there was some resolution. However, the story was so boring and the characters' behavior so repetitive that by the climax, I just didn't care. Art The art was similar to season 1. Decent, nothing special. I was disappointed but not surprised by the cheesiness of the monsters and the lameness of the fight scenes. One treat was how cute Chairman Kaien was once he let down his hair and took off his glasses. Sound Another excellent soundtrack. Just for the music, suffering through the two seasons was worthwhile. I hate the intro, but the ending theme makes up for it. Character Yuki was unbearable. She was as weak as ever, but much more intent on protecting everyone, even though she had ABSOLUTELY no capacity for doing so. Watching her chase after the villain and put herself in danger was really irritating, especially because she endangered a lot of Kaname's lackeys in the process. Kaname did improve somewhat; he was less opaque and we finally understood his attachment to Yuki. Zero and Ichirou also gained some depth. The twins may have been the most powerful, compelling plot element in the entire show. Enjoyment They shouldn't have raised our expectations that Yuki would become strong if they weren't going to deliver. They did nothing with her being the guardian. If the main focus was the love triangle, then they should have put WAY more attention on developing the two relationships. Yuki spent a lot of time with Kaname and Zero, but she didn't connect with Kaname until the end, and her scenes with Zero were just angsty melodrama. I can't remember a single romantic scene in either season that I would rewatch, and I'm usually pretty enthusiastic about corny shoujo moments. Overall I'm truly shocked by this show's popularity.

First and foremost, I write from the perspective of a dissatisfied audience of Vampire Knight Guilty. It was due to my positive opinion of Vampire Knight that led to me to Vampire Knight Guilty and hence my judgement cannot make dichotomies of the two (so I hope you don't mind me making reference to Vampire Knight). As you'll probably know, VKG continues right where VK left off, retaining much of VK's good qualities at first. The characters from VK/VKG are very well-built and generally three-dimensional enough for me as an audience to relate to and hence enjoy, with the exception of Kaname-kun, who was so perfectin his prestige, power and popularity that there was no room for him to be anything but an admirable and incomprehensible figure. The artwork itself was generally quite well-done, although I felt the quality didn't follow through towards the end of VKG. In terms of sound, nothing stood out as being special but nevertheless, it complimented the plot and character developments. The one thing that I really want to talk about is the storyline. The reason why VK was excellent in my opinion was its plot. The flow of the story introduces audience to a very different and intriguing world of vampires, and as you journey through the plot progression, mysteries of the world and its creatures unravels itself through introduction of new characters, philosophies and events, that spices up and quenches curiosity of the world whilst requiting the audience a greater interest in knowledge of vampires and their existence. And so VKG begins with this highly anticipated and built-up plot where most branches of side and main plots from VK was left wide open. However, as the story progresses in VKG, the pace of the story really dies down. Excluding a few snippets of fair back stories to some of the supporting characters, the main plot really felt mundane and hard to trudge through. Due to an overly pretentious overemphasis on subtle foreshadowing, the climax of VKG comes about in a very poor, but surprising way, which in its own was interesting. VKG was on a road to revival, bringing back the essences that made its preceder a success. Inevitably, due to lack of pacing in the story, VKG ran out of time to wrap up properly, failing to arrive at the respectable conclusion that VKG's climax opened up for. In all honesty, the conclusion simply felt rushed, as if the writers just ran out of time and whipped up a mediocre ending and forgot about all these other things. Having enjoyed VK, it really was a pity that VKG did not follow through. VK felt like it created so much potential for VKG, who grabbed a single point of interest and neglected the rest of VK's successful elements. To sum VKG up, it centralises on one element of a good script, then patched a drawn-out and repetitive build up to its front and a short and undermined continuity to its back. It was not bad, but the fact that it was a mere shadow of its former annoys me, and so I give it a 6/10 (it's simply my opinion). Nevertheless, if you have seen VK, watch VKG with an open mind. (I don't take into account that I wasn't in it for a fanciful, mystical tale about pretty boys, which was part of what VK/VKG was marketed to be.)

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