This is a short sci-fi ONA from 2001 – not so long into the slow rise of CGI in anime, and while it has a few problems for me, I didn’t end up abandoning Zaion.
Zaion: I Wish You Were Here (Anata ga koko ni Itehoshii) 2001
Most aspects were good enough without being outstanding.
Which sounds like not much of a compliment, I know but not every single second has to be outstanding, right? The storyline was the classic ‘save the city’ this time from out of control space-virus mutations, with a small team of human-nano-machine-hybrid soldiers having to bear the brunt of the attacks.
That is, except for Ai, whose psychic powers are the only guarantee of victory.
Sadly, she’s a prisoner of her military & their scientists – and while she develops a relationship with male lead Yuuji, it was just as interesting to see the mother-daughter relationship between her and conflicted scientist Misao, who is her first ally.
I won’t go deep into the story but it plays out as expected, though with a more sombre ending than say a typical action sci-fi.
Despite things that kept me watching, I will say that the CGI is not integrated too well – the age of it is clear, and obviously Gonzo and the industry would improve over the years.
When it comes to the plot, there’s some real problems with the obliviousness of the general population too… but to go back to things I liked, the themes around the futility of war worked for me, and Kenji Kawai’s OST really stood out too.
Not sure I’d recommend Zaion, however, unless you are a fan of the era?
Another entry into my ‘monsters hunting monsters’ collection – Trinity Blood has heaps of action and enough blood for vampire fans, but probably skews toward political intrigue almost as much as action.
In the end that was probably my favourite aspect, especially within the Vatican but the settings were another highlight. Trinity Blood takes place mostly in Europe, only during a post-apocalyptic time where vampires and human co-exist in an uneasy (and often broken) truce.
Partly due to the setting, there’s a lot of great character designs and costuming, especially from the Empire (not to overlook Caterina), but what I remember most is probably the characters. Father Abel Nightroad has a vague ‘Vash’ feel but is more capable of bloodlust (yeah, a pun, sorry) and is helped along by a fairly large cast. And while I wanted a bit more time spent on folks like Leon and Kate, I can imagine future seasons would have rectified that.
I found Trinity Blood hard to rate however, because despite great rising tension across the season and plenty of stand out moments (most of Seth’s scenes for one), the ending was a little rushed.
No doubt Gonzo were planning for another season (there are plenty of light novels by Sunao Yoshida to choose from) but that wasn’t to be. There is a resolution to the anime, and a set up for the bigger story, but some important things happen ‘off-screen’ which was a shame. I missed the impact of those moments.
4 Stars (maybe it should be 3 but I enjoyed things otherwise)
Two things bugged me about SoltyRei, although otherwise I really enjoyed the series – but I’ll get to those two storytelling issues in a moment.
SoltyRei has a lot of aspects that I tend to seek out in an anime; a futuristic setting, mechanised gear, even an android to go with the other science fiction tropes. It also features bounty hunting and conspiracy plotlines, and there are some moe elements that bring a fun balance, though I could see some folks making the argument that those aspects clash with the more serious bits.
The series is quite character-driven, featuring a fairly large cast, but remaining mostly focused on Roy’s compelling struggle as a father, along with Solty’s adjustment to human society. While the large cast means certain storylines rise and fall in terms of importance and screen time, they certainly do tie together in the end.
The anime has an episodic feel in terms of cases that the unlikely pair of Roy and Solty must solve (at first), but the main storyline does come to the fore quickly enough.
Tonally, there are a lot of lighter moments (it was fun seeing Solty learn to cook for example) and while her solo-travelling arc stood out too, it’s not wholly uplifting even if it was among my favourite episodes. Above all other elements, I think Roy figuring out how to take emotional risks once more was the thing that hooked me most. There you can see the classic ‘detective with a troubled past’ trope, but I’m one to dig anything vaguely film noir 🙂
I’m about to get to my two main issues, which will include spoilers, but firstly, the fan-service can present another drinking game opportunity if you’re watching the direction. (Partial spoilers right below too).
Before they kill off a few of the female characters, Gonzo and AIC never miss an opportunity to get the girls into showers, baths or pools. And if you do need to get drunk (to borrow that game from Irina) just take a drink each time there’s a low-angle panning up Rose’s legs or a shot framed to ensure Solty’s shapely butt is visible.
Okay! To the problems I mentioned earlier – I think I’m extremely forgiving when it comes to most shows, and I know that not everything I consider a fault is a deal-breaker (or even a problem) for each viewer, but I wanted to raise two character issues:
Our villain, Ashley Lynx has a reason for being what he is, but that information is rushed in at the end, in time for his death scene. It seemed like this was done to evoke some last-minute sympathy – but I didn’t care about him so it didn’t land for me. Had some of this info been delivered earlier, I think his ending would have packed a punch – because there’s some sincere tragedy going on, but it ends up tied to a generic villain that doesn’t get the chance to be much more.
Rose is presented in quite an inconsistent way for such a vital character. Her motivations are both contradictory and/or hidden from the audience at different times, making her actions seem bizarre instead of mysterious. And while things were half-explained retroactively, during the period where the audience was kept in the dark, I lost some interest in her future. (This obviously lessened the impact of the ending episodes for me).
Half the time, as I watched her playing at villain I was thinking you have no reason to do this and you’re far too smart to fall for this tosh. And I remember thinking those things because previous episodes had taken some pains to establish Rose as clever and as having her own stubborn moral code. When she went ‘off-script’ for no reason, I didn’t find it intriguing, I found it an example of poor charactarisation – not the choice to have her essentially switch sides, but what I thought was a failure to present her motivation onscreen.
Now having spent all that time attacking the way important info about Rose was presented, I’ll also say that I reckon some things about her certainly are foreshadowed well.
Elsewhere, there were enough hints of upcoming things to keep me satisfied in that department overall, but for the anime as an entire story, I’m not sure whether my rating below is slightly reactionary.
For instance, I thought SoltyRei really was ‘great’… save for those two flaws, and so maybe my disappointment drives it down to ‘good’? I dunno, what’s in a rating, right?
(Again, the general sci-fi elements and Roy’s struggle were real highlights for me, in spite of the issues I mentioned above; in fact, those things rise above my doubts about the charactarisation in the end anyway – and there’s a great final episode too.)
Pumpkin Scissors is a sadly unfinished series that seems often to be recommended to FMA fans, though there are obvious and clear differences.
Still, if anime featuring teams of military heroes, state secrets, mysterious powers, conspiracies and a vaguely WWII-era European setting sounds like your thing, then I think you’d enjoy Pumpkin Scissors a good deal.
Maybe so much so that, like me, by the end of the season, you’ll be disappointed that so much is left unexplored. Because while Pumpkin Scissors has a clear and satisfying ending, a second season (or more) would have been ace, allowing Alice and her company to uncover so much more!
In terms of production detail, I don’t know whether Gonzo had plans for another season… As ever, maybe the show just wasn’t popular enough, or maybe it was always meant to lead people to the manga… but I did find some trivia re: licensing costs for the US. (You can compare a few other shows here) but Pumpkin Scissors cost ADV around $780,000 by the looks of things.
Again, I definitely don’t have a comprehensive understanding of what any given show would cost a company generally, but it’s interesting to assign their (possible) expectations around the success of an anime back in 2006, based on those figures.
Okay, so I should backtrack to the story itself – the anime follows a small military section (Section 3) focusing on ‘post-war’ recovery, in a time of great hardship. Yet, as you will see in more than one episode, the ruling class certainly has less of a hard time than the ‘regular’ citizens of the nation.
To make things a little more complicated, fieldwork undertaken by Section 3 is led by a noble herself, Alice Malvin, and a certain amount of the series follows her struggle to deal with dual responsibilities and self image, as someone who believes nobility should help people.
She’s joined by other young officers, and while you do get time to know them – especially Oreldo, most of the focus there is on the mysterious Corporal Randel Oland and his past as an anti-tank trooper. And ‘anti-tank trooper’ is pretty much exactly as impressive as it sounds – foot soldiers who take out armoured tanks with a serious-looking handgun, and a little help from something we get hints about, but no true answers.
And boy, there’s a lot hinted at across the episodes, but again, to my disappointment, it’s mostly still hidden by the end of the anime. However, you know that this gentle-giant type character has been scarred heavily by the war will easily infer from what has happened to other soldiers, that Oland had been experimented on.
Other than the grim subject of war and intrigue, along with some great, explosive action sequences or fantastic duels throughout, there’s room for comedic moments in Pumpkin Scissors too. A lot of the lighter stuff comes from the chipper Lili and her messenger dog Mercury, but there was a running joke in regards to Oland’s size that was handled pretty nicely with props.
If you seek out Pumpkin Scissors (it might still be with Funimation) there is an ending to the season, despite me noting that I would have loved more.
The series has an arc and resolutions to certain plotlines, but it does feel like a first novel in a series, the one that sets everything up: revealing that there are more villains lurking further in the dark. Villains you won’t get to meet properly, unless you pick up the manga however.
Still, Alice’s final stand-off in the ballroom is a high-tension duel indeed, and a satisfying big finish.
While Oland’s hesitance in these episodes kinda bugged me, it makes sense and the character development is welcome at that moment. If I had to find another fault… I don’t know if I can! I liked pretty much everything about Pumpkin Scissors even the ending theme, which at first seemed to clash in tone, but it’s nice to have an oddly-comical ‘company song’ instead of something super-dramatic.
It must be daunting to take on such a classic – often adapted and widely revered, the Alexander Dumas novel is perhaps the ultimate story of betrayal and revenge.
(How’s that for a quick introduction for a change?)
So, if you’re familiar with the specifics of the novel then you’re up to speed with the plot in the anime… for the most part.
There’s a few significant changes overall – for one, Gonzo set this version well into the future with space travel and war-suits, though aesthetically it remains very lavishly European in terms of costuming and character. Teens take centre stage here too, which is perfect in terms of keeping the viewer one step ahead of the main character but still one step behind the antagonist/hero. Elsewhere there are hints of vampirism and alien or demonic forces at play, but with or without any of those things The Count of Monte Cristo is still a gripping drama that will feel a lot like the original story.
Most people discuss the visuals of this series and it’s clear why – they are astounding as well as, at times, utterly exhausting. It’s such a forceful and impressive blend of Gustav Klimt, typical anime aesthetics and Ukiyo-e that you’ll be both dazzled and confused at times, I reckon. For me, I couldn’t look away but the first few episodes were truly difficult adjustment periods. (Here, I tried not to share too much but also failed to capture what it’s really like – especially when all those clothing patterns move :D).
Beyond the art there’s a lot of angst and bitterness, but also perhaps a lot of nobility. At times it’s easy to get frustrated with young Albert’s naivety but he’s not the only character with something at stake here, so you’ll get to know other folks. For instance, I think most people would accept that Franz is just as important as Albert and the Count, along with the romances. In a way, it’s a large cast and you do get a bit of time with everyone.
While it’s mostly a story about the way Albert is manipulated into a role within the Count’s long revenge, the other plots are woven through the story neatly and toward the end, in impactful ways. [Spoiler here] In fact, for me the duel between ‘Albert’ and the Count is actually the high point in terms of drama, probably because you’re meant to be well-aware of what’s really happening. After that, the ending didn’t quite pack the same punch – and related, I would have loved something different or possibly more visceral for some of the revenges Edmund took.
I know there’s some discussion out there re: the ending of the anime vs the novel and each viewer will have their preferred approach but I wasn’t aghast by it or anything. Throughout, Gankutsuou will push you toward sympathising with the antagonist – and again, I’m reserving the word ‘villain’ for other characters here in some ways, but it takes a while before you’re given much of the Count’s back-story for context around his actions. From a storytelling point of view I think that makes a lot of sense, considering how well-known the source material is.
I know earlier I mentioned a large cast and I’ve touched upon a few of the bad seeds but there are bright moments (such and the purity of Valentine and Maximilien) but switching back to a more morally grey character, there’s one of my favs: Peppo who has an important role even if the screen time might not suggest it, precisely.
In terms of audience, note that themes of revenge, betrayal, incest and abuse are front and centre, and so despite the pretty exterior the series does a great job of revealing the depths of human villainy and weakness. In fact, when the visuals lean into the gaudiness I think it becomes at least partially a comment on the excesses of the nobility; that glittering veneer of honour that is so easily tarnished.
is something of a classic anime series and it definitely has some really killer
elements… but as a whole it doesn’t quite live up to its reputation for me.
That’s not to say that I didn’t really enjoy some episodes or that I think it’s bad series, but the show strays between genuinely atmospheric, creepy and exciting all the way down to trashy and even a little shaky re: its animation.
And yeah, ‘trashy’ isn’t always bad.
And I know the production team were soon working ahead of the manga on a smaller budget (and that naturally amounts to at least some risk) but I think I agree with the general consensus out there, which suggests that the anime didn’t live up to the source material and later, suffered in some ways compared to the remake in Hellsing Ultimate.
But back to the 2001 series – it’s got blood, guns and tension, some interesting music too, great voice acting and at times distinctive direction (especially in the opening episode) along with a memorable cast of characters in its favour.
The gothic elements were really welcome in my opinion and I liked Seras’s storyline – her struggles definitely deserved a little more screen time. Alucard himself is of course a great menace and fits the ‘monster hunting other monsters’ role perfectly, but the pacing of the series felt a bit off to me and I grew weary of the recapping.
(And a small thing that also bugged me – the endless repetition of ‘amen’ quickly became odd rather than something more fitting for the characters).
Still, what this series definitely did was make me curious about a more complete adaptation of the source material, and so in that sense it works wonderfully.
And that first episode is pretty stunning, really – it’s just a shame that the quality (for me) fell away not too long after.
Origin: Spirits of the Past (Gin’iro no Kami no Agito) 2006
In the years
after Spirited Away won its Oscar it
seemed that mainstream western journalists and reviewers suddenly had a
benchmark they could refer back to in order to measure any subsequent release
against – and I understand, it’s a clear reference and hallmark of superb
quality, and one that a large readership would have recognised.
And all reviews are probably at least a little bit of a reaction to ‘what came before’ and I certainly do that myself and I like that approach when it contextualises a film. But what I think bugs me a little about bouncing any movie or series off a high water mark is that invariably, almost everything will fall short and then not be wholly judged on its own merits, and instead be discussed in light of all the ways it didn’t match the seminal text.
So I’ll try not to do that here and instead try and say that while Origin will make some viewers think of Miyazaki and Ghibli, it has its own problems that are unrelated to how much or how little it evokes Studio Ghibli.
And it’s not the animation or art, which is at times breathtaking, especially during the opening forest scenes or the fiery climax, but for me, a general flatness to the story drags it down. And I know that’s a vague, essentially useless descriptor for a review, right? But despite some great action sequences and big themes (around environmentalism and cooperation), the story didn’t captivate me.
Maybe it was a little rushed, because I wanted more time with the characters. I wanted to see them explore the world and magic and new societies a little more deeply too. And there were a few folks introduced that felt like they could have had a bigger impact on the story – but were somewhat reduced to cameos, like Jessica and Minka.
enjoyed Origin: Spirits of the Past despite
my largely critical review here and maybe I’m most disappointed in how close it
might have come to a real classic? There are some fantastic scenes throughout and
again, wondrous imagery and animation to enjoy too, if you don’t mind a
storyline that’s a little generic at times.