The Third: Girl with the Blue Eye (Za Sādo – Aoi Hitomi no)

The Third: Girl with the Blue Eye (Za Sādo – Aoi Hitomi no) 2007

The Third: Girl with the Blue Eye met most of my expectations and I did enjoy it a lot, but there was a little something missing for me when it came to the ending.

However, I’ll stick with what I liked most first.

As I’ve said before, I love adventure stories, and usually ones based on light novels (or just novels in general) tend to have great plots and charactarisation. And that’s mostly how I feel about this anime; it was great to see heroine Honoka roaming the post-apocalyptic world, saving folks with her blade and mech suit, aided by her AI tank and the mysterious Iks.

There is a central plot that reveals itself in time, and while I said ‘post-apoc’ I should mention that this is a reasonably hopeful future-earth, compared to other shows at least. The setting was one draw for me, and the friendly bickering between Honoka and her tank (Bogie, voiced by Unshou Ishizuka, ‘Jet Black’), was great too, along with the fight scenes and interpersonal aspects between leads.

One thing that really stands out was the fact that The Third has a narrator – usually providing exposition or character monologue, which was interesting. It worked for me – but I could definitely see that as an issue for some viewers.

I also wondered about Paifu and her ‘rivalry’ with Iks re: Honoka, as that came across as pretty odd onscreen, even downright creepy… is Paifu meant to actually be a villain? She tends to act like one throughout.

But my main issue is with the ending. (A few times, the animation also dips and the character models seem fairly ‘off’ but I did get over that.)

Instead, as the series begins to wrap, there’s a significant plot line that seems like it represents the ‘ending’. It gets a few episodes to resolve things, and I finished it feeling the sense that ‘it’s all been sorted/crisis averted’ – but it wasn’t really the end.

There was more of The Third… left, and suddenly, tension had to be rebuilt in the two remaining episodes, and so the actual closing episodes of the anime didn’t feel quite as ‘big’ to me.

Having said that, it wasn’t a bad ending either… but it just didn’t land the same way as the preceding episodes, I guess. I was still interested to learn some final secrets, and I was always going to watch the final two, but yeah. Hard for me to rate, I probably personally enjoyed it a bit more than my score will suggest.

3 Stars

During the early-middle period of the series, there’s an episode or two with these stark, dramatic shadows that I really liked:

The Big O (Za Biggu Ō) [Boxing Day Review]

The Big O (Za Biggu Ō) 1999

You can no doubt predict exactly what I’ll say about episodic storytelling by now, right?

This almost sums up the palette used throughout.

I’m definitely a fan of it – but The Big O ticks a lot of boxes for me outside its mostly episodic structure too.

First, there’s the slowly unfolding mystery in an unsettling but familiar city, then there’s androids, revolving villains, a dramatic multi-genre OST and finally; retro-looking mecha placed within a very 20th Century aesthetic – the mash-up is fantastic.

Having said that, if you don’t enjoy (almost) madcap mixes of conventions and genres, you probably won’t end up liking The Big O too much.

Despite the strong Batman/James Bond feel to the series, and despite the noir detective stuff happening on the surface, I still think that there’s enough dissonance and enough of the philosophical maybe, to deter folks who prefer a focus on a single genre or tone.

But again, that’s one of my favourite aspects of The Big O – that and the stylish character designs and art deco visuals.

I’ll take a shot at exploring the premise just quickly:

Roger Smith is a negotiator/investigator living in Paradigm City, known as the city of amnesia (for reasons which I won’t spoil). There, he is eventually pulled into the mystery of whatever event wiped everyone’s memory forty years ago, aided by former client, Dorothy – an advanced android.

To hopefully evoke a sense of tone here, I want to mention one person involved in the production – Chiaki J. Konaka. As with all collaborative arts, I think it’s cruel to point to only one person, especially in a review, but I think if I mention Chiaki then that might give a few clues as to the tone and direction of this series – especially the second season.

If I step away from my rhapsodising about the series for a moment, I’ll maybe get enough distance to point out some things that I didn’t love. Firstly, Roger is kind of a jerk and essentially mistreats Dorothy for nearly the whole series. And speaking of Dorothy, if you take a look at what she can do in the first two episodes for example, she is truly under-utilised by the story.

I believe more than a few people agree that Season 1 tends to be stronger than Season 2 (actually, I only took screencaps from S1 mainly due to time).

Three or four years later and the animation quality does get a boost for the sequel season, but for me, the powerful mysteries established in those first thirteen episodes aren’t all answered as satisfyingly as I’d hoped. (I also wished that Swchartzman got a little more screentime somehow, as I tended to really enjoy him and his monologues!)

In contrast to my comparative disappointment with the second season, there were still plenty of things that I continued to think about afterward. More, the audience does get a few answers in time, along with one reveal that had nearly as much impact as the stunning ending of episode 13, for me.

Okay, so now that I’ve finally reached this point in the review, I think it’s time to wrap things up – until my next post, where I want to try a bit of visual analysis on episode 3 of The Big O.

In the meantime, I hope I’ve made you at least a little curious about this ‘old’ anime! (It’s been in my top ten for a long time and I don’t see it leaving any time soon, but it did slip down a rung on the ladder at one point.)

5 Stars

(A few images to follow)

A merry time was had by all.

Astra Lost in Space (Kanata no Asutora)

Astra: Lost in Space (Kanata no Asutora) 2019

At a glance I guess Astra could be mistaken for a light comedy or teen romance set in space… but there were definitely a few surprises in store for me.

I had this on my list after folks started talking about it a while ago, and I’m glad I finally got around to watching this series – there’s heaps of things I enjoyed; fun characters, the trials of being lost in space, adventures to new planets, a ‘one of us is a traitor’ plot-line and some big science-fiction twists.

There were also plenty of comedic moments too, even a bit of fourth-wall stuff, which is always a plus. It is anime, so of course there’s an obligatory beach episode but if I’m remembering correctly, it operates to lull you into a bit of a false sense of security in regard to what’s due to follow.   

Now that I’ve come this far, I’m finding Astra: Lost in Space hard to write on without kinda giving certain things away, so I’ll finish this short review by saying that Kanata is an obvious fav, and Aries jumbling up her words is always cute, but best overall moment from a character is probably Zack’s declaration of love.

Maybe take a look if you want a space adventure with some fun twists and reveals.

4 Stars

Treasure Planet

I believe Treasure Planet was at one point among the most expensive animated films ever made, and while that obviously didn’t automatically make it brilliant, I think the movie is still pretty great.

Treasure Planet (2002)

Equally, it’s ‘under-performance’ box-office wise doesn’t automatically make it poor, either.

To me, this early 2000s era of Disney is kind of a push toward making animated films for somewhat older audiences. This one and Atlantis or even Hercules perhaps, seem to point to that (since-abandoned) trend, but most folks consider the time period as a slump for the company.

Still, tweaking Robert Louis Stephenson’s Treasure Island and transferring it into a sci-fi setting definitely let the artists showcase a new world and fun ideas (like the solar surfing) while at the same time holding onto a tried and true storyline.

For me, everything pretty much works great in the change from sea pirates to sky pirates.

There are a few aspects I didn’t love (like poor old Ben), but they were minor. One thing that stood out were the performances, especially Brian Murray as John Silver and David Hyde Pierce as Dr Doppler, though it was impossible not to hear Niles Crane the whole time 😀 (I was also thrilled to recognise Roscoe Lee Browne as Mr Arrow.)

While I’ve hinted at the maybe slightly older audience here, our hero Jim never crosses over into what could be called ‘cold-blooded, weapons-based violence’ – even to save himself. So that’s one reason for me to note that it’s still clearly a PG text, but that’s not a mark against the film either.

There’s a classic, adventure mix of action, suspense, mystery and exploration in Treasure Planet but above all for me, I think it’s the mentor/surrogate father figure relationship that keeps everything together.

4 Stars

This is what I always think of as the ‘One-Eyed Willie’ homage, just with bonus eyes of course.

A-Z Challenge “D” is for Dallos (Darosu)

Dallos (Darosu) 1983

The first OVA produced!

Dallos feels extremely topical now when wealth inequality is so vicious, and you could certainly also read the OVA as a critique of colonialism – though I’m not sure Hisayuki Toriumi, Mamoru Oshii and Studio Pierrot were making a ‘message’ story? I should do more reading there.

Still, the themes are definitely present and expanded via inter-generational conflict as much as being driven by events around the Lunarian rebellion.

Science-fiction and action tropes do fill a lot of the short series, and although there’s time for politics too, what caught my eye (aside from the world-building) were the now ‘old-school’ visuals from both character and mechanical design – it does feel like the 1970s are very close.

But when I learnt that there were essentially two directors on Dallos, I think it became easier to see the action scenes when Oshii was clearly in charge.

Dallos is told from a few POVs. It mostly follows our hero Shun, rebel leader Dog and antagonist Alex as they struggle for control of the colony, and it doesn’t rush the story either, which is great. I guess if you’re mostly into modern animation, however, you’ll really see the age of the art.

In a way, two stories from 1966 came to mind when I finally saw Dallos – one was We Can Remember It for You Wholesale (filmed as Total Recall in 1990) and the other The Moon Is a Harsh Mistress. For the latter, the production team mention it as an influence but my association with the Philip K Dick story is a little more nebulous to me – not sure I can put my finger on why.

I still really enjoyed the OVA series and my only qualm I guess, was that I think I expected a little more mysticism from the film for some reason – maybe since the ‘god’ of Dallos itself seemed to be set up that way? Still, that feel was not absent at all, but I guess I just wanted something extra.

Obviously if you’re a science-fiction fan, or curious about this pretty cool piece of anime history, or Oshii’s early work too, then you’ll probably enjoy Dallos but visually it’s not at the level of Ghost in the Shell, for instance, and I wonder if tonally, this is more the work of writer and co-director Hisayuki Toriumi?

4 Stars*

I love how huge the theme can be 🙂

*To borrow from Iridium Eye Reviews a moment – maybe remove a star if you’re not so interested in the history of anime.

And this is my third review for my A-Z Challenge 🙂

Toward the Terra (1980)

Toward the Terra (1980)

I tend to really enjoy stories that feature big concepts – especially imaginings of the future, and Toward the Terra features both of those things.

While it’s a generational story that skips a few years here and there, the beginning especially gives us a look at an unsettling ‘utopia’, a place boasting order and health but a place where a character might say something like “I’m sick of boys, let’s get a girl next time” and this statement would be perfectly normal.

The repressive society featured in Toward the Terra isn’t the main focus precisely, but it is the structure that our Chosen One (Jomy) must rebel against.

Ultimately, the story is a far-future struggle between humans and Mu (Mu are humans who can use psychic powers) and while the film does feature space battles and struggles, it’s not so much a war between equal and opposing sides, it’s more like a brainwashed humanity seeking to commit genocide upon the Mu.

It can be pretty grim – and while the ‘80s designs and animation might not make some of those things seem as visceral as modern shows could, it’s still compelling.

For me, the time skips I mentioned before suggest that this adaption would have worked really well as a series (and twenty-seven years later maybe it does :D), allowing the story to further explore things like Jomy and Physis for one, but beside that and similar issues related to the huge story and limited running time, I enjoyed Toward the Terra plenty.

4 Stars

SoltyRei

SoltyRei (2006)

[Spoilers appear further below]

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.)

3.5 Stars

Casshern Sins (キャシャーン SINS) (Extra Post)

Here I wanted to share a few more images and go over two things that I mentioned last post, in a tiny bit more detail. It seemed best not to have that post drag on any longer, and so this second post might be better.

First, I’ll include an example of the fight sequence style, second will be that ‘cracking’ effect and as it turns out there’s a “thirdly” further below too – I might just share some final random shots I liked.

So, this one is something you’ll see both Casshern and Lyuze do fairly often – leaping over enemies and tearing into them on the way down, and often wide shots aren’t the focus but instead it’s POV shots looking up.

The sequence will finish with the sliced-in-half moment, as another Redshirt robot bites the dust. (I should have included the preceding moment for this sequence, but it turns out I missed it).

These impact shots are always fun too.

For the second thing I wanted to note, a quick quote from the previous post:

(Sometimes the sharp, ‘snapping’ approach to the Ruin (for robots at least) made me wonder whether Land of the Lustrous and their shattering crystals were accidentally foreshadowed here, which was fun.)

It’s great detail but obviously these stills lack a bit of impact without motion or sound involved, but you get the idea.

And finally, just a few bits and pieces from different parts of the series with a note or two, mostly stuff I wanted to include before but again, I didn’t want that first post to run forever.

I wish this had been followed up a little more in the story.
Sometimes the colour changes to something far warmer than the usual wasteland. Elsewhere, greens are usually avoided.
This song was pretty cool, with the multi-tracked vocals by voice actress Nami Miyahara.

Not precisely the villain, but definitely one of the bad guys, Braiking Boss in his 2008 form and classic form below.

And there we go – second post on Casshern Sins completed!

One day, I’ll link back here when I’ve found and seen the 1973 series, or perhaps I’ll be able to locate the OVA from the 90s first.

Casshern Sins (キャシャーン SINS)

Moody stuff from this reboot of the 1973* anime; a bleak, quiet series that still has a steady stream of battles but which divided fans upon release.

I know that changing the tone (and also canonical story elements) with a reboot can be risky, but without having seen the original, I basically accepted the anime ‘as is’, though I could see the influence of the past on the character design for sure.

But it’s time to get to the premise – which is, the overpowered robot Casshern wanders a wasteland that is falling further into ruin, a ruin that he created, but cannot remember. On top of this, nearly everyone wants to kill him because they believe it will save them from the relentless decay.

It’s a grim story full of desperate folks, shown in shadow or washed out colours, contrasted by the brightness of a few key characters, mostly Ringo. I was pretty much enchanted, which is an odd word perhaps, considering what I’ve just described, but I was hooked by the visuals and also the need for Casshern to succeed, to make things better.

Earlier in the review, I mentioned that there were a lot of battles but it’s not precisely an action-heavy series. In addition to the destruction of many, many robots, the anime features an equal or higher share of silences, wandering, or characters facing off with their stares as much as anything else. It’s dramatic, and that drama is matched by the direction or at least, shot composition, with all the extreme close-ups being fish-eyed, and plenty of silhouette shots too.

More, the drama continues via the stylised, at times samurai-like combat, which ranges from ‘single slash’ to ‘slow-motion-acrobatic’. I think it’s very much about maintaining the graceful aesthetic that the slender characters posses. On a vaguely related not, it’s interesting that Lyuze has less of the ‘70s vibe of others, and more a 2000s ‘urban’ costume.

Time to switch to dot points, I think:

  • Staying with the action sequences a moment, many are quick, to show Casshern’s dominance, but the first struggle against Dio is great, it had the most tension for me – more so than their final encounter.
  • Luna is a pretty great villain, an extremely selfish thing that operates almost on reactionary whim, which makes her a fantastic false prophet in a way.
  • Ringo is almost unbearably bright and cute – and thus very welcome, a very necessary character that brings balance, I reckon.
  • One of my favourite characters is Dune, but I have a bit of trivia instead of a note about the character. I found it interesting that same voice actor is behind both Dune and Akoes – but more so, it is the criminally underrated Yūto Nakano, whom I instantly recognised as ‘Ginko’ from Mushi-Shi.  
  • Sometimes the sharp, ‘snapping’ approach to the ruin (for robots) made me wonder whether Land of the Lustrous and their shattering crystals were accidentally foreshadowed here, which was fun.
  • Character design was a real stand out for me across the series – there’s the extreme grace of the key robots like Casshern, Dio, Leda and Lyuze etc, but the ‘redshirt’ robots are far blockier, far more 70s but in a different way. Sometimes, I got a Code Geass feel too, especially due to the prominence of triangles, and with some of the more insectoid looks.
  • There’s an episode for Lyuze that’s kinda odd, but I think I see mostly what it was going for with her internal struggle.
  • Across the whole of Casshern Sins, the episodic wandering half feels like it contains more of my favourite moments, like those with singer Janice or Margo the painter perhaps.
  • Because it’s ultimately a dystopian show, there’s that loss of ‘humanity’ which turns the desperate into the animalistic, and really adds to the bleakness. However, when I think about contrasting scenes with bright, more vivid colours (often featuring flowers and general cuteness) these moments are often undercut by the menace of fear – my worry for Ringo or other innocents.
  • And further, there’s a fantastically melancholy soundtrack, which is beautiful but has a similar function to underscore the threat of the ruin, the transient nature of everything in Casshern’s world.
  • Transience is definitely a key theme, and how different characters deal with that knowledge, whether it’s a more gentle approach like Ohji or a more pitiful – and probably contemptible one – like with Leda.

To finish at last, I want to mention the ending – because Casshern Sins is definitely about robots fighting, but it’s also a redemption quest that doesn’t quite work out the way I was expecting, which was great.

There are a few ‘final’ fights in those last episodes but the real climax is actually Casshern’s promise to Luna, which I won’t spoil, but it’s an extremely satisfying close to the anime’s theme, even if it isn’t an all-guns blazing conclusion.

5 Stars

* One day I’d like to compare the two eras, especially because I think it’ll be a stark contrast.

[Turns out I have more than one post in mind for Casshern Sins, so I’ll link it here but it’s mostly because I took too many screencaps (as usual!). In the post, I’ll go over a few things I mention here, I think, like the ‘shatter effect’ and some of the combat or small things I didn’t include here.]

Spriggan (Supurigan)

Spriggan (Supurigan) 1998

So! I was stunned to learn that Netflix is creating a series for Spriggan and that it’s due next year.

I think you could argue that it suits their action/sci-fi-heavy anime catalouge, but I guess I’m still surprised that Spriggan, which seems kinda ‘forgotten’ maybe, would be picked. In any event, I’m definitely looking forward to it because I think there’s room to expand the story, as compared to this 1998 film adaptation of Hiroshi Takashige’s manga.

And this is most certainly a film for action fans.

Spriggan is packed full of blistering, superhero-style battles and action sequences (even a touch of DBZ in there at times) and before you (maybe) groan at the idea of another schoolkid with unrealistic abilities, Spriggan does address that seeming oddity.

To very quickly talk premise: the story features two powerful groups vying for control over a world-altering artefact, with young hero Yu taking the lead as the top agent tasked with preventing misuse of said artefact.

For Studio 4°C this is quite opposite in tone etc to a latter film like Children of the Sea (which is the most recent comparative text I’ve seen) but the same level of care and attention to detail appears onscreen, with some cracking action sequences, as I mentioned above. Among the best I’ve seen in any anime.

Now, most folks seem to have problems with the story, and it does take a backseat to the action but it’s not like the plot is wildly swinging from one idea to another. Instead, maybe it’s just that a few important things (like Yu’s past, perhaps) don’t get a whole lot of screentime.

Katsuhiro Otomo was involved as a supervisor, and maybe you might then think of Akira in superficial ways (mind powers and sci-fi in general) but Spriggan is definitely closer to an American action film, fast-paced, violent and even far-fetched.

All the things that made it fun, perhaps.

4 Stars

You can’t quite tell here, but this guy is about to throw that helicopter.
Watch out, dude