Casshan: Robot Hunter (OVA)

Compared to the 2008 series (Casshern Sins), in some aspects the Robot Hunter OVA feels like more of a somewhat faithful remake of the 1973 original than a full re-imagining, even with the narrative re-ordering here. (However, that’s not to claim that this version makes zero updates or alterations either).

Casshan: Robot Hunter (Robotto Hantā Kyashān) 1993

In other ways it’s very different.

I won’t do heaps of comparative notes here, as I plan to save that for a future post, but the tone of this OVA had an interesting balance between mournful, hopeful and dystopian, whereas I think of Casshern Sins as almost despairing in a way.

As is often the case with stories people write about the future, technology is a bitterly duel-edged sword, appearing as both a tool of violence, of oppression and liberation.

It’s a fairly dystopian society shown in the OVA but as I mentioned, the resistance plot does offer hope and progress toward the eventual showdown between Casshan and Braiking Boss / Black King.

Elsewhere, the music* stood out for me, at times being more symphonic than I was expecting from a 1990s OVA. (Maybe that’s a little dismissive of me, and I mean to note that I enjoyed it as much as the perhaps more to-be-expected rock).

And on the note of OVAs, this is anime, and so it will of course feature an obligatory shower scene featuring Luna – not unlike a typical film from just about any other medium, for that matter. 

Anyway, one thing I appreciated was that this OVA does tell a full story – just be sure to steer clear of the Harmony Gold, cut-down film-length version. The proper Robot Hunter is four short OVAs and is roughly 20 mins longer all told.

Ideally, I’d spend a bit more time on the differences, but basically if you’ve not heard of Harmony Gold, they’re known for making cuts, changing scripts and generally aiming to change anime to be more kid-friendly.

Getting back to Casshan, if you’ve seen any iteration of these characters and were hoping that the classic acrobatic attacks are still here – they are, and they usually look fairy good, everything does generally speaking, but some of the fire effects do seem a bit old-fashioned.

But hey, this is around 30 years ago now.

I will quickly mention two more comparative things, such as the direct visual quotes that I recognised from the first episode of the 1973 series, (see further below) and the way that Braiking Boss’ name was changed in the subs which was interesting.

But again, I’d like to save more of that for the comparison post!

So, is this OVA worth seeking out?

Maybe for Casshern-completionists or for fans of the era (say, where the OVA schedule offered a bit more time to add extra detail to the frames etc), or if maybe you like the classics. Or at least, updates on classics 🙂

4 Stars

*Michiru Ōshima, also known for (among many other things) FMA.

And here we go – an example of one of the shots that references the original 🙂

Un-Go (2011)

Un-Go (2011)

This series was fascinating.

It’s hard for me to accurately describe why I found it so – probably because of the contradictions within.

On one hand Un-Go feels like an uneven detective series and on the other it feels like an uneven philosophical text… and on the other hand it’s aesthetically pleasing, even stylish at times. On the fourth hand that I apparently have, it’s one of those shows that appears not quite able to add up to more than the sum of its influences, yet manages to become compelling.

Now, maybe I’m in a bit of a minority here with Un-Go but by the end I was ready for more cases and more of the interplay between detective Shinjuurou and his ‘boss’ Inga. The series is short (eleven episodes), with one double-episode length OVA as a prequel. I’d like to come back to that OVA actually, but for now I’ll mention that there is an overarching story that I preferred to some of the episodic parts.

While some cases felt rushed into single episodes, once Un-Go passed beyond that establishing phase the multi-part mysteries let the storytelling breathe a little, especially the final half dozen. In addition to what I consider an uneven start I feel like the pacing encourages the viewer to gloss over some plot holes or uneven character beats but the mysteries of the setting, the cases themselves and most of all, the exact nature of the contract between Shinjuuro and Inga were the main draws for me.

Secrets upon secrets

Un-Go is pretty good at drip-feeding it’s secrets too, and that’s another aspect that kept me watching – as did the oddness of Inga, who is basically a mix between Ed from Cowboy Bebop and Harley Quinn but it kinda worked. The anime takes on some big topics (albeit too briefly) around autonomy, privacy, war and finding purpose, and is far more adult in nature than say, Full Metal Alchemist. How’s that for a segue? I mention FMA because Un-Go is helmed by Seiji Mizushima and features Shō Aikawa in the writing chair.

However, I hope I haven’t misled anyone into thinking I believe FMA shies away from difficult themes, but its tone is a fairly different to Un-Go. And related to the question of tone – if you’ve seen this series and notice a reasonably pessimistic streak running throughout, then it might come from what is (to some extent) the source material.

Ango Sakaguchi was a post-war writer who seems to have been understandably struck by strong disillusionment, and one of his works Meiji Kaika Ango Torimono-chō, is the base for Un-Go’s lead, Shinjuuro who can appear to have lost hope at times. (But I think that’s about all that’s used from the source, since among other differences, the novel is set in the Meiji era and the anime is futuristic/alternate Japan.)

The show often gives little name flashes as reminders when we first see a character in an episode.

Finally now, I’m returning to the prequel I mentioned earlier.

The prequel is the most compelling of all the episodes in the series and perhaps even has slightly higher production values too, if that sorta thing matters to you. It also adds a bit of clarity to some of the Buddhist hints throughout.

But more important for me, was that Inga Chapter offered a lot of answers. Earlier I mentioned how I thought the show did a great job of maintaining my curiosity and it was pretty high by the time I saw the prequel. However, there’s a bit of debate out there as to when you should watch it – either before you begin the series or after episode eleven. On my DVD the OVA is on the final disc and so that’s how I saw it, and I liked that approach because it was enjoyable to finally get some back story for the lead characters and solve a few mysteries that had been hinted at since that tiny glimpse at the beginning of episode one.

(As a quick aside, the air date of the prequel was actually during the series itself, which is interesting.)

It’s clearly too late for me to watch Un-Go any other way ‘for the first time’ now, but if you’ve decided to hunt this show down then I guess consider what kind of viewer you reckon you are.

If you don’t mind having secrets held back for a long time, so as to build anticipation, then watch the prequel last.

If you suspect you might be a bit annoyed by a series that takes its time to return to the main concern, or if you like being one step ahead of the main characters and catching all the little hints they sometimes miss, then maybe watch the prequel first.  

Okay, another ridiculously long review! Next time, I’ll aim for a shorter write up 😀

3.5 Stars