I guess this Lupin film had the capacity to upset some people, since it’s full-on CGI, but for this fan, there were no missteps.
Lupin III: The First (Rupan Sansei Za Fāsuto) 2019
Everything looks fantastic and the translation of 2D characters into CGI works really well. I think that’s in part to the original designs naturally lending themselves to exaggeration, which in turn helps things along when the characters and their stories are adapted to different forms (as I see it, at least).
Having said that, my favourite part was actually the heavy Indiana Jones feel to the story and settings.
Without spoilers, I’ll just note that Nazis and prop planes, deserts, caves and secret treasures, archaeology and mysterious powers do feature in the film enough to evoke that Indiana vibe, without also taking over. It definitely felt like a fond tribute to me, and contains a lot of classic Lupin hi-jinx too, as most of the gang still get to play their parts.
New character Laetitia is a nice contrast to most of the gang, considering her earnest nature, and her ‘grandfather’ is a slimy bastard indeed. Probably a better villain than Geralt the Nazi, actually. (And on that note, it was pretty satisfying to see Hitler as a prop, used as an object of ridicule, a prank to be played on Geralt, and of course, it’s always great to witness the Nazis lose).
(And just quickly, the OST by long-time Lupin composer Yuji Ohno fit perfectly too).
Lupin himself in this film slips into a bit of a mentor-like role at times, offering as much advice to Laetitia as he does quips to everyone else. I guess you could argue that other cast members could use a bit more screen-time, but that’s not a small task, considering the large cast and a running time of a single film.
Most definitely recommended for fans of the franchise, and possibly perhaps even for sceptics of CGI… so long as you’re also a fan of Indiana Jones, perhaps.
So, if you’re new to ‘OVA Week’ here at the heap, basically speaking, I’ve got some dot points on the OVA form itself, and then the review.
Hope you enjoy these and again, I’d love to hear any suggestions you might have for future OVA-weeks 🙂
An animated film or series made for release on video, rather than for broadcast/theatrical screening
Generally, high budgets that can mean visual qualities are better than a typical television series
No fixed length, nor broadcast time-constraints when it comes to storytelling
To some extent, created outside regulation – and so they have a reputation for ‘anything goes’ when it comes to restricted content
Often (but certainly not always) based on original scripts, rather than being adaptations
Long wait times between episodes/installments for some OVAs
First OVA to be described as such was 1983’s Dallos from Mamoru Oshii
The ONA (Original Net Animation) is an obvious more modern equivalent
Open the Door (Tobira wo Akete) 1986
In the past, portal fantasy/isekai anime didn’t always use video games as the medium or impetus for the main characters to leave their home world, and this time around it’s more of a summoning actually… a small fact that’s probably most important toward the end of the film.
Open the Door is a full-length release but it doesn’t quite evoke the word ‘epic’, despite having the lead characters raise an army and despite including both a fair bit of travel and several battles. It’s not quite as ‘fun’ as an adventure-film either.
Nor is it full of angst, precisely.
It really has a tone that I’m struggling to describe. And I don’t want to suggest that the movie comes across as being so little of any one genre or mood that it actually ends up evoking none of them, either.
Nor do I want to say that things are rushed, though the anime could have been expanded into a short series with little trouble, I reckon.
What I do think Open the Door features is an interesting combination of sword & sorcery and a mix of shoujo/josei aspects, not limited to the leads being college students.
Here’s the premise from MAL:
In modern day Tokyo, three university students, Negishi Miyako (Neko-chan), Saiki Haruka, and Yamagishi Keiichiro, have magical powers that make them feel like outcasts. They come together one night and are transported to another world. They open a massive door and Neko finds that she is the Princess Neryulla, who must defeat the evil Duran III to free her people.
Having the main characters be university-aged seems like a hallmark of some older anime, and it was nice to see Neko operate in a pretty confident and competent manner, compared to her potentially being clumsy or merely a damsel, while at the same time the story doesn’t show her as a rash hot-head either.
Especially welcome perhaps, considering how easily she takes to her new role of saviour in an unfamiliar world – or also how skillfully she deals with the advances of Saiki the ‘player’.
But before I get to some spoilers, I want to cover some dot-points:
Of the supporting cast, coming in closer to the ‘hot-head’ archetype is Dimida, who was definitely one of my favs
As was shapeshifter Keiichiro, who had a fun Wizard of Oz kinda design, too
I did enjoy the vague ‘He-Man’ feel to some designs of the supporting cast
Around the mid-point or so, there’s a reflection scene where Neko is smoking a cigarette in the fantasy world, and for me it worked really well to remind us that she’s from our world. Not a huge thing, just something effective that I liked
And finally, I have to mention that there is an actual pillow fight in this film – I reckon it’s meant to function as a ‘girls-bonding’ moment but it’s possibly just an excuse to animate feathers 😀
All right, time for a spoiler before I wrap up this review.
I mentioned the summoning aspect to Tobira wo Akete earlier, which is sort of how Neko and co all end up in the fantasy world.
This is revealed during the villain’s monologue, where the audience also learns the motivation for his action – and it’s basically boredom. Which just seems a little flat to me – I mean, “I was so bored that I tried to start a new war” doesn’t really impress 😀
More, it doesn’t make too much sense – for instance, if Duran was so hard-up for war and death, he could have gone around colonising other parts of his world, could have started plenty of conflicts at home, instead of spending 500 years searching for a physic girl from another world to use as a pawn.
… but all that aside, I still enjoyed this OVA/feature film and while the budget/animation isn’t on the scale or quality of a similar text (in terms of genre and era), like sayArion, it’s still above plenty of average TV series from the decade in terms of visuals.
Maybe not a gripping storyline, but the characters stood out enough for me to say I enjoyed it and most fantasy fans probably would too, along with fans of the era and overall 1980s aesthetic.
As before, I’m starting with a brief overview on the form itself, before jumping into the actual review and will follow this format for each of the seven posts.
Hope you enjoy these and as I mentioned a few posts back, I’d love to hear any suggestions you might have for future OVA-weeks 🙂
An animated film or series made for release on video, rather than for broadcast/theatrical screening
Generally, high budgets that can mean visual qualities are better than a typical television series
No fixed length, nor broadcast time-constraints when it comes to storytelling
To some extent, created outside regulation – and so they have a reputation for ‘anything goes’ when it comes to restricted content
Often (but certainly not always) based on original scripts, rather than being adaptations
Long wait times between episodes/installments for some OVAs
First OVA to be described as such was 1983’s Dallos from Mamoru Oshii
The ONA (Original Net Animation) is an obvious more modern equivalent
Scoopers (1987)
Monkey Punch obviously created more than his Lupin stories, though I think in works like Scoopers (or Cinderella Boy for another example), some similarities in design and tone are front-and-centre.
To an extent, there’s even a little of a cyberpunk-Lupin feel to this short film. Maybe even a touch of Jurassic Park – well, if only in terms of a key setting, perhaps. But I’m jumping around a bit, so here’s a brief note on the plot instead:
A plucky reporter and her android cameraman/bodyguard try to save the world from a madman with vast, vast technological resources. Simple enough, right? Again, not a problem for me.
Leads Yoko & Beat make a good pair and their adversary Mr X is certainly doing his best to be the ‘menacing gentleman’ type but for me, his wide variety of henchmen actually do better.
Admittedly, Mr X really does throw all kinds of stumbling blocks the way of the heroes, from helicopters, androids and hallucinations, Greek gods/mythical creatures and evil super computers too. And while a sense of fun holds everything together, I think the mix could easily irritate some viewers.
Not me however, but I will add that Yoko was, for all her toughness, prone to cries and shrieks a fair bit. It’s also unclear to my why Beat has been programmed to perform occasional acts of sexual harassment but here we are, I guess.
Is this OVA worth seeking out? Probably if you’re a big fan of Monkey Punch (or Lupin, I guess) or more likely, as I often seem to say, if you’re a fan of the era. Because it is 100% the 1980s from top to bottom!
Otherwise, Scoopers might not bring you a whole heap of enjoyment.
I thought I’d start with a brief overview on the form itself, before jumping into the actual review (and will probably follow this format for each of the seven posts).
Hope you enjoy these, and as I mentioned a while ago, I’d love to hear any suggestions you might have for future OVA-weeks 🙂
An animated film or series made for release on video, rather than for broadcast/theatrical screening
Generally, high budgets that can mean visual qualities are better than a typical television series
No fixed length, nor broadcast time-constraints when it comes to storytelling
To some extent, created outside regulation – and so they have a reputation for ‘anything goes’ when it comes to restricted content
Often (but certainly not always) based on original scripts, rather than being adaptations
Long wait times between episodes/installments for some OVAs
First OVA to be described as such was 1983’s Dallos from Mamoru Oshii
The ONA (Original Net Animation) is an obvious more modern equivalent
Relic Armour Legaciam (1987)
At the very end of this OVA I saw a message from the production company that was something like “see you again” and it made me a little sad. Because there was no ‘again’, at least not yet, and it’s been thirty-five years already.
And I absolutely would have watched another installment!
Relic Armour Legaciam actually ends on a really good story beat on the other hand. Even with only 50 minutes to tell the tale and set up the world and characters, the anime does the job. I was quickly invested in the team’s struggle to remain free, as the story soon slipped into the chase/hide portion of the plot.
At the same time, the bigger mysteries of the deadly heatwave and strange tower were set up nicely, with some back-story provided too. It was definitely enough to have me keen to learn more about the people involved with the first, seemingly disastrous expedition to the tower too.
Of course, antagonist Felmis has plans to stop the heroes, and after a pretty fun mech battle, Alcia and co are able to head for the tower… at which point the film finishes, sadly.
Before I finish, I want to add that I really liked the designs, especially of the Legaciam itself, and the Han Solo feel courtesy of Zeno was nice too. It was cool to hear voice acting that was rough and boisterous for the kids also, though I don’t know how I’d go with an entire film of them talking.
Does this stand out amongst the many, many OVAs out there?
Or even the many mecha OVAs from the 1980s? I doubt I could say, since I just haven’t seen enough of either. Probably your enjoyment (or lack of) this one will hinge upon your tolerance for unfinished stories* and classic anime.
3 Stars
*Typically one of my least favourite things… but not here, as it turns out.
Something about Titan A.E feels just a little… I’m not sure I can place my finger on what gave me feelings of vague dissatisfaction. And yes, the short-lived Fox Animation Studios closed after this film… but that doesn’t really describe the movie at all.
It looks nice and the story is fun, for one.
Titan A.E (2000)
And the world-building has some pretty interesting aspects too, and amongst the usual Hollywood cast for the era, I really enjoyed Nathan Lane as Preed and Drew Barrymore as Akima also, but taken as a whole, I’m still not sure what it was about Titan A.E that didn’t quite satisfy.
The story follows war orphan Cale as he and the rest of the cast search for the mammoth Titan, a ship & DNA bank, on a quest to restore humanity and save the dwindling species from extinction. Just on that, I found myself wishing for an entire series, rather than a film. I think it could have been a great epic.
Nevertheless, it was a film – 90-odd minutes, and it does cover a bit of ground.
But even with a twist or two, I wasn’t surprised by the storyline, overall, it was probably more a case of enjoying the world-building and settings. The burning planet stood out, as did the drifter colony ship, but also small places like Akima’s dressing table with her keepsakes/relics. Elsewhere, I really enjoyed the slight Art Deco look of the Titan’s interior.
(To stick with the visuals a touch longer before finishing, that crashing-ice scene was a nice twist on the ‘house of mirrors’ trope).
Definitely worth a look if you like the era, or science-fiction in general perhaps, but especially so if you’re curious about director Don Bluth working on something perhaps not really aimed at children.
it’s been a little while since I hosted a collaboration here, so I was really happy that Scott was up for working with me on Kiki’s Delivery Service – the famous Studio Ghibli adaptation of Eiko Kadono’s book (and top-grossing film in Japan for 1989).
If you’ve not had the chance to see this film, I hope we’re able to make you at the very least, curious enough to check it out!
Kiki’s Delivery Service (Majo no Takkyūbin) 1989
Ashley: Hey! Excited to start this collab, especially as it had definitely been a while since I’d seen Kiki’s Delivery Service and last time we worked together was on a mecha show, so this should be a fun contrast.
How long has it been for you? I wondered if you noticed different things about the movie this time around?
Scott: Hey Ashley! I’m excited too. It’s been way too long since the last time and I think this one will be a fun one to discuss.
Honestly, it’s been way too long for me. Over a decade and half I think. Ever since my high school marching band days when we watched films on these nice buses that have tv screens that we could watch movies from. Kiki was a staple for that.
To be honest, I can’t say that I really noticed anything particularly different. The screen I watched it on was small and with the length of time, it’s like watching Kiki’s Delivery Service for the first time.
How about you?
A: Cool, what a contrast from the bus tv and environment to a more controlled one at home 🙂
It’s been a few years for me and this time around I was reminded just how key Joe Hisaishi’s music is to the overall Studio Ghibli feel for me, how it really adds to the whimsy (or the drama in some of the flying scenes) but also the scene-setting.
I had also forgotten that Jiji is voiced by Rei Sakuma and her voice (and characterization) is obviously quite different to Phil Hartman’s, whom I had become really accustomed to. It’s an interesting contrast, especially in terms of their respective personalities in the original vs the dub – Hartman’s Jiji has a fair bit of that classic Disney sidekick comic-relief that’s not present in the Japanese release. I definitely love his performance but it was fun to see another side to Jiji.
S: Oh yeah, I agree with that feeling. The big question I have is if Joe Hisaishi didn’t do the OST for it, is it really a Ghibli film? I mean probably, but it wouldn’t feel the same.
I feel like there are always some localization changes like that in English versions of Ghibli films. Like, Princess Mononoke had a prologue narration while the Japanese version didn’t or how Spirited Away had San say “oh, it’s a bathhouse”, because that’s not a thing in the United States. So I suppose that going with that choice made sense for this film for western audiences.
So this film. Kiki is quite a film isn’t it?
A: Yes! I love coming of age films and so Kiki… automatically ticks a lot of boxes for me.
I also really like how much dramatic tension there is in seemingly small stakes, such as those that come from delivering items, retrieving items or making the switch with Jiji etc, which is contrasted with the emotional beats of her quest for acceptance, self-discovery and of course, the bigger, action-based stuff in the latter half of the film.
S: I love them too, honestly. A well done coming of age story are some of my favorite things. So relatable and can be applied to so many scenarios to keep it fresh and interesting.
As for digging into details, there are so many of them in the story that just add so much extra fluff into it for me too. So many good little bits of micro attention that just makes the film a lot better then the viewer would first expect. I feel like that coincides with Kiki establishing herself because every moment is a little bit of tension.
A: I feel the same with those small details, like the work on the pastries or the slow warming of Osono’s Husband toward Kiki, or the stunning backgrounds, especially when it comes to the buildings. I feel like it’d be easy to do a whole post just on the scenery 😀
If you had to pick a high point for that tension around Kiki’s growth, what would it be do you reckon?
S: Exactly and there are just so many little bits like that to make the world feel so organic. Just like the bus driver given the time to actually close the door because he drives off. So many small things like that which add up and make the experience just so grounded.
Oh, the moment of tension? I feel like its centered around Kiki’s relationship with Tombo hits a whole point. Probably where she questions her magic. Very much where all the tension in the staying in that city suddenly explodes. I could be wrong about that though…
A: Same again! In fact, the questioning of her magic always made me a bit sad. The crushing, somewhat comparatively dull adult world pushing its way in?
Maybe that’s a little negative of me – Kiki certainly finds plenty of fulfillment doing things adults do as well. Her sense of purpose and confidence from her independence, which is earned through all those non-magical things.
S: Isn’t questioning her magic so relatable though? She’s a little too early in her own life to think that was though. Especially comparing herself to her mom. Maybe she is growing up too fast by doing the usual witch tradition.
Yeah, I think her finding out she doesn’t need her magic to be around people or just live is a good way to carry this story. I think that her magic coming back from that understanding feels completely natural because of it.
A: It really is, definitely – and it suits the overall uplifting tone of the film too, huh?
So before we finish, I wanted to ask what or whether anything didn’t work so well for you?
S: I feel boring in saying in saying that I don’t have much against it? In some cases I just felt a bit rushed at some times? Some scenes didn’t have as much room to breathe as they could? That’s about it for me.
I really don’t have much to say against it. What about you?
A: For me I thought I was going to say that the film was a touch long… and yet, is that even true? Do I even have any actual criticisms – I don’t think I do, either 😀
It really feels like the Studio Ghibli team firing on all cylinders, creating a really fantastic adaptation, and visually, nailing the match of theme to visuals, of character to expression etc. So I’m like you – loved it, can’t really find anything to complain about!
And finally, huge thanks to Scott for joining me for another collaboration 🙂
I hope that Kino’s Journey is considered a classic beyond my limited sphere, since I reckon it’s a wholly compelling series from beginning to end.
Ideally, I’d launch into my reasons for saying why I enjoyed it so much – but I want to instead start with some of my quibbles. And since they include spoilers, I’ll just place a pic or two here first.
Kino’s Journey —the Beautiful World— (Kino no Tabi) 2003
The series is really sparing with details about Kino herself.
I suspect I know at least a few reasons why that would be so, but I still wished there had been time to learn more. Even the episode that introduced Kino’s namesake could have offered us a little more – perhaps a double episode? That would have been great.
Oh well.
(My issue here is obviously something that would have been mitigated by a longer series.)
Secondly, I’m not sure how much I enjoyed the text cards throughout – I liked their function as prompts but I don’t know how effective they were.
Of course, that’s not a bad ratio – two complaints only, right?
So, onto the stuff I loved.
For one, the world building is great – each destination is enthralling and usually pretty distinct, and having Kino’s three-day rule is a perfect way to keep things episodic, which is in turn, the perfect structure for a traveller.
In fact, I wanted another season, another set of surprises and moments that had me pause to think, moments that caused me to question what I thought I understood about any given situation presented in the stories etc.
I guess it wouldn’t be inaccurate to call Kino… a pretty cerebral anime, but it wasn’t a static talk-fest by any stretch.
There’s enough action, movement and lovely visuals to probably keep even casual viewers engaged too – and not just the Colosseum episodes, which came to mind for me first.
One issue I have seen mentioned here and there is Kino herself.
She has a somewhat restrained or even emotionally detached personality (and voice – a delivery that suits her well), though she doesn’t lack compassion at all, I can see times where I wanted her to grow more involved.
It’s also a useful way to give the audience room to insert themselves into the ethical dilemmas, to potentially avoid being swayed by the main character’s choices or beliefs.
I liked the choice and I now find myself wondering about it – was it something unique to the anime, or is Kino similar in the source material?
And perhaps above all, her personality really makes the impact of that last episode a lot stronger, to actually see something really hit home for Kino – where previously she’d been in far greater control of her emotions, she’d been perhaps a little too sure in her role as observer of all that ‘beauty’?
It does seem a bit like a shield for her, and considering her past, it makes sense that she’d be pretty guarded.
Okay, I think that’s about it from me – time to end this review with a few dot-points that I probably could have fit elsewhere, but didn’t:
I really enjoyed the muted palette and the occasional use of sepia
‘Persuader’ is an equally striking and troubling name for guns
Loved the Florence-like setting in the Land of Prophecies episode
Kino’s sense of self is strong, also being quite uninterested in labelling herself – simply claiming to be ‘Kino’ when asked at one point, which is an interesting contrast to her more impartial personality traits
Some other fav episodes were the opener and the finale, along with the Land of Wizards and also when we see the nod to Fahrenheit 451
I feel semi-confident recommending this to any anime fan. (Well, any one save for those few out there who only tend to watch a single, narrow sub-category of the medium, I guess.)
Maybe I ought to qualify that claim a bit more with a summary and a few extra bits… and so I think it’s time to bust out a non-essential table 😀 And so below there’s some reasons why I think Kino’s Journey is worth a shot, presented in a hard-to-read table format, lol
I know there was a remake/re-telling/another version of Kino’s Journey released in 2017 but I haven’t seen it. I’m curious… but maybe not enough to actually give it a shot in a hurry as I finished this iteration pretty happy, really.
Anyway, to finally actually wrap up this review, Kino’s Journey is another obvious contender for an update to my Top Ten list.
Book of Bantorra is definitely more than its fan service – though if you need some, then the costumes for Noloty and Chesty La Rue Hamyuts Meseta will have you ‘covered’.
And even, to a far lesser extent, Matt or Enlike.
The Book of Bantorra (Tatakau Shisho: The Book of Bantorra) 2009
But beyond the window-dressing, there’s a high concept fantasy/action story split into fairly strongly connected, non-linear narratives, full of mysteries and hidden motives.
And it has a stellar opening theme song:
So, what’s the plot?
In a world where dead people turn into books and are stored in the Bantorra Library (where anyone who reads a book can learn their past), Armed Librarians who wield psychic powers defend the Library from their enemy: a religious society known as Sindeki Kyoudan. (Adapted from MAL).
In summary, it sounds a little silly, but I came to accept the premise of the world soon enough.
And there is a neat and clear reason for all of what seems so bizarre on the surface of the world too, but the series does a nice job of keeping the truth if not hidden, at least obscured for a good long while, and then explaining a lot of the mysteries too.
With the unique premise and fascinating world in place, and mysteries abound, the strength of Book of Bantorra I thought still rested with the range of characters. For the most part, they all get time to have some back story and depth in the present, with small arcs or important roles to play, and occasional quirks too.
In fact, the story of Shiron and her trials with the Shindeki Church could have been an entire season for me – and I actually thought, early on, they were going to dominate the series but as I mentioned above, there are a lot of connected plot lines from up to a dozen viewpoints, so be prepared for many threads coming together by the end.
(Having said the above, I could see that if you weren’t hooked on the characters or world-building pretty quickly, then this anime could very well feel frustrating and muddled).
In terms of aspects I personally didn’t enjoy as much, I felt that the soliloquising and/or grandstanding from some of the antagonists was pretty tedious – one of my pet peeves, perhaps.
The ultimate villain was a little underwhelming too, and while Hamyuts’ bra-size seems like obvious pandering, she did have an actual arc and voice actress Romi Park was pretty convincing re: creating the sense of Hamyuts as untrustworthy.
I’m glad Book of Bantorra was from an era where it wasn’t unusual for an anime to run for 25+ episodes, as this story needed to be that long in order to wrap things up.
In terms of a recommendation, well I think if you like action, fantasy and as I mentioned/warned early in the post, if you like multiple, interconnected narratives too, then there’s a chance you’ll enjoy this anime.
I’m glad I stumbled across it, as I’ve rarely seen it mentioned.
In many ways this is a less compelling echo of the film.
Same lead character of Jubei, similar quest feel with stumbling blocks presented by different monsters/adversaries to defeat, and there’s even some (toned down in comparison) sketchy content, but all without the production budget and schedule of a feature film.
Ninja Scroll: The Series (Jūbē Ninpūchō Ryūhōgyoku Hen) 2003
Naturally, there are going to be differences between the two forms – and I don’t always like to compare based on budget; as I should take the time to describe and evaluate a thing upon its own terms, right?
Still, I think at least some comparisons are worthwhile for this review – one of which being the MA vs R rating.
Another is the tone, far more comedic at times.
The Ninja Scroll series has significantly slower pacing too, as its straight-forward quest storyline is stretched to fit into the monster-of-the-week format (a format that I usually love).
Despite what probably sounds like a long list of grievances here, I enjoyed individual episodes enough to overlook the at-times stark differences between series and film, such as the Shelter from the Rain and A Dragon Within eps.
It was interesting also how bold this one is, with more exaggerated character design and the use of brighter colours; the series does ensure that it’s distinct from the film. However, in terms of storyline, in a way, the anime seems only generally concerned with the main quest its characters are on, and the supporting cast has limited impact on plot or theme, leaving the heavy-lifting to Jubei.
(Well, aside from Shigure, but she’s sort of ‘tagging along’ in her own story, sadly).
Further, while the design of a lot of the creatures and enemies were usually pretty interesting, during a lot of their scenes, I found myself keen get back to the main quest.
In that respect, the last two episodes were among my favs, since the team got to the lost shrine/city at last and kicked the magical aspect up a few notches at the same time. (There were also a few fun surprises toward the end, a nice escalation of stakes also).
However, I’m not sure I’d recommend Ninja Scroll to everyone, but if you love supernatural ninja stories there’s going to be at least a few elements you’ll enjoy. In addition, I liked the OP a lot!
Coming to the series cold, the connection to the game Dota 2 had no positive or negative impact for me – it was just a fact about the anime, and so I enjoyed having no preconceptions going in.
I know that animation produced by non-Japanese studios can get some flak from the community but I don’t really care – DOTA Dragon’s Blood looks great and it was a lot of fun to watch a fantasy/action animation with all the classic creatures.
Plenty of humour, plenty of really ace action-sequences and even the fan-service tended to actually make sense here. There was also lots of lovely imagery and striking use of colour to further keep me watching and without spoilers, the story probably isn’t full of curve-balls but it’s satisfying.
I have a few fav characters from the large(ish) cast, but Marci is a stand out – I also don’t recall dozens of mute characters appearing in other animated works I’ve seen, so that was really interesting. (There were even Australian voice actors too, which is another rare thing).
Toward the end, I will say that it seemed that the pacing picked up a little too much. Important events outpaced the running time, and once again, it felt like modern production choices (esp those favoured by Netflix) meant the team at Studio Mir had to squeeze in a 13-episode portion of a big story into an 8-episode run.
Maybe that was just my impression?
But with more episodes on the way, I’m definitely tuning in whenever more of the story is ready.
The Review Heap 