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.
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.)
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.
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.
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.
* 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.]
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.
This is a classic (and fairly violent) OVA series and one which I suspect most cyberpunk fans are at least aware of, but is definitely worth watching if you like the genre but have never had the chance; it’s probably online somewhere by now but I’m not sure who streams it.
For me, so much of Cyber City Oedo 808 feels wonderfully connected to the 1980s (no surprise considering the release dates) whether it’s the assumption that floppy disks will be part of the future or the big hair and heavy metal theme song, or the old school blue palette used for night, it has so many things that I tend to be fond of.
At the same time, in terms of plotlines, the anime is a little more fantastical, even mystical – considering the way machines and computers infiltrate humanity, but especially when I think about episode 3 (Crimson Media) which features the ‘vampire’ storyline.
But in all the big ways it’s definitely science-fiction.
For one, there’s a crime-ridden, megacity-setting where the power of technology is used to both monitor and maim. Cyber City Oedo 808 also makes extensive use of futuristic weapons, equipment and vehicles, and conventional ideals of what it is to be human are abandoned. It’s not a long exploration of those issues though, since the focus is firmly on action, technology and sometimes the gore (directed by Yoshiaki Kawajiri)… so the anime is not setting out to be philosophical perhaps, but I felt like there was plenty of room to consider those aspects if I wanted to.
Cyber City Oedo 808 follows three convicted criminals who have been offered the chance to commute their sentences by hunting down and executing other criminals. Each lead basically gets their own episode, though they do operate (somewhat grudgingly) as a team at times.
I quickly alluded to this before, but as a Yoshiaki Kawajiri film, there is a bit of fan-service when it comes to the detail on the violence, but in a way, it seemed like both less and more than what you’d see in things like Wicked City or Ninja Scroll.
With each episode, the storytelling is really focused; I felt like I was in good hands when it came to info around setting and character motivation too, and I hadn’t realised that Akinori Endo also did screenplays for Armitage IIIand Battle Angel, which was cool.
I love each storyline and so it’s hard to choose a stand out without going into spoiler territory, but since Benten is my favourite character, I reckon I have to go with the menace of Crimson Media, complete with its quieter moments. (You can also see a real echo of Benten’s own temperament in ‘villain’ Media, but again, I don’t want to drift into spoilers here!).
The taciturn hero* is certainly one of my favourite types, so having ‘Van of the Dawn’ fit that mould was nearly all I needed to confirm that I’d enjoy GunxSword – that, and this post from Scott at Mechanical Anime, which got me interested in the first place 🙂
This anime is one I missed when it was ‘current’, and it lands during what I think of as one big wave of anime popularity in the mid-2000s, back when things like Bleach and Naruto were dominating.
But this isn’t as neatly defined as those shows. GunxSword is hard (but fun) to categorise, and I’m not sure I’ll manage it fully but I think it combines action, mecha, western, science-fiction and comedy in a fairly wild, ‘try anything’ approach, with the episodes held together by a strong quest narrative.
Two main characters, unlikely duo Van and Wendy, are searching a semi-dystopian world, looking for ‘Claw’ – the silver-tongued manipulator and psychopathic villain. Van for revenge and for Wendy, it’s more of a doubt-filled search, as she struggles to learn why the shadowy Claw has abducted her brother.
These twin threads pulled me through the episodic and the connected episodes alike. Hints and clues were spread out nicely, interwoven with character-building episodes, as the cast expanded quite steadily. And GunxSword becomes a real ensemble by the final confrontation too, which is something I loved because I like to see heroes bounce off those different character types.
Even though the story is ultimately serious and at times basically adult rather than aimed at teens perhaps, there’s a lot of oddball, even goofy stuff. More, the mix of mecha and gunslinger feel allows a heap of classic western/samurai tropes to sit along side the huge struggles of huge robots**.
I think of this especially with the range of characters that Van and co encounter on their travels, like Captain Kaiji, or the mafia don’s kid (and that car!), even Wendy’s turtle or Carmen99’s yoyo are small examples that would sell the idea of the show as a comedy – well, those and above all else, the moustache-fetish guys.
(But when you look at the relationship between the lead characters, the series is a bit more like a drama, and most folks are perhaps ruled by their doubts or their flaws, but somehow manage to pull together.)
Now, it’s hard for me to be certain of this, but fifteen years ago, it seemed that studios and other backers were a little happier to take risks on works that weren’t adaptations. Not sure if that’s a fault of my memory, or a lack of wide viewing habits on my part, but I don’t know if anything quite like GunxSword would get a twenty-six episode run today. (Maybe it’d be more of a single cour, a ‘see what happens before we commit further’ kinda thing?)
GunxSword is often compared to Trigun and there are definitely similarities in setting, and in the wandering, the episodic feel and at times goofy humour, but the tone and use of technology are certainly different here. (The OST is also more varied too).
So, is this one for you?
Hard to say… if you prefer dead-serious kinda mech anime than probably not, but if you’re after something fun, this might be worth chasing down.
* Having said that, Van can be a straight up jerk too, and it can take him a little long to see beyond his pursuit of revenge.
** On that note, I really liked the way Gorō Taniguchi revealed the scale of the robots/armour throughout too, especially via choice of angle and camera position in many of the battles.
Okay! Another series final – this time No Guns Life wraps up and I’m left kinda desperate for a further season one day.
I feel that mostly because all 24 episodes of No Guns Life seem to be set-ups for something that cannot possible happen within 24 episodes.
There’s just so much more story! And I fear I won’t get a chance to see it. (Especially because I don’t have the shelf space to start collecting the manga, and thus my hope is that Madhouse green lit more.)
Ultimately, I didn’t enjoy this ending episode as much as I’d hoped – but that doesn’t mean I thought it was bad, not at all. (It was interesting to get some backstory on Pepper for instance).
And there was a bit of welcome focus on comedic stuff and the switch in colour palette was refreshing, but the finale wasn’t an explosive finish, even if I appreciated an important reveal in there.
Still, as I said before – I really do want more No Guns Life one day.
So, whether some things were easy to predict in the finale doesn’t matter so much to me, since they were fun, and I got an upbeat ending too! Plus, my curiosity is high now, upon seeing the changes in the aftermath.
Interestingly, I enjoyed this ending more than that of the other show I’m currently writing about on an episode-by-episode basis, which is No Guns Life.
I am also (due to the length of time and repeat exposure perhaps) growing accustomed to the visuals of “Tanker + Cyborg within the one frame” now, so I guess I’m onboard fully, despite much initial resistance 😀
And, based on the ending, I can see room for more story and I wonder if – based on this interview that Lyn mentioned to me on twitter, maybe a film sequel in the future?
(It was fun to review a seasonal show as it streamed, but I don’t know if I could handle doing two this October. Maybe just one will be enough :D)
After a fairly large recap for an intro, and a bit of recapping within that kinda impacted the pacing for me, the fight between Juzo and Seven kicks up a notch or two.
At the same time, there was a little widening of the focus to bring in other players too, and to give Pepper a chance to make a mess of things.
Maybe there are a few cracks in Seven’s resolve too, enough to weaken him – but I think the most important thing I picked up with episode was basically confirmation that those two have essentially gone rogue.
Not much else that I think needs highlighting for me, other than my feeling that the over-sized arms as weapons could be a touch comical… but then, is it really any more odd-ball than guns as heads?