There are a few gaps when it comes to my knowledge of Osamu Tezuka’s works beyond Astro Boy, which is something I’ve been wanting to fix for a long while.
Being well-aware of his other stories but only having having seen a few or just bits and pieces over the years has been kind of frustrating, especially when it comes to finding a copy of Phoenix 2772 🙂
However, when I started Dororo I didn’t realise that the anime was the second adaptation of Tezuka’s manga, so that was a fun surprise! And even through the grimmer, more splatter-filled 2019 series probably doesn’t look like it on the surface, I think there are both character design and story-telling aspects that reveal the source material.
Dororo is a classic underdog story, with both Dororo and Hyakkimaru up against a harsh, unforgiving world – and that’s just the humans. The demons are bad news too, but the duo prove to be a match for the things they face. And while what they face can be, at times, a monster of the week, Hyakkimaru’s quest to restore himself provides a narrative link looking forward, while Dororo’s past offers a similar thread of consistency.
Perhaps the injustice Hyakkimaru must face, and one that certainly had me onside with him right away, was the nature of his birth. After all, not only does his father sacrifice his organs and senses, almost his entire body, in exchange for prosperity, but nearly everyone around Hyakkimaru chooses to overlook the father’s cowardice, instead turning their blame on a more convenient target.
Part of why I watched 4 or 5 episodes each night (more than I’d planned :D) was that injustice, but knowing Osamu Tezuka’s storytelling, there’s no simple answer. There is a cost to Hyakkimaru’s restoration, so Dororo has more than one good moral dilemma.
Reading up on the reception, I see that one criticism aimed at this modern adaptation is that compared to the manga, ronin Hyakkimaru has so little dialogue that it is harder to connect with him as a character. I half agree. On one hand, it meant that the ending had a little extra impact, on the other, it meant that I missed out on hints of how he was dealing with everything.
To compensate, we learn a lot about Dororo throughout – so I was happy with the trade off, myself. In terms of the ‘modern’ violence, I did take a quick look at the manga in an attempt to compare and maybe it’s partially colour, movement and sound that makes the show feel more violent?
But getting back to the anime, I wanted to quickly share a few favourite aspects – one being the pre-Jaws moments but I also really enjoyed what felt like a nod to the ‘hidden Ainu treasure’ trope, along with Izume or Jukai as characters. ‘The Story of the Jorogumo Silk Spider’ was another favourite; it had a few twists and a non-typical ending perhaps.
I suppose that in some moments, the character design might bring to mind that late 1960s look, especially with Mio and the golden horse to give two examples, and I wondered whether they ‘fit’ the grimmer aesthetic of things elsewhere, but I can’t really complain since I liked it all.
Oh, and when folks joke about Hyakkimaru being the original ‘demon slayer’ there will be aspects that appeal to fans of both shows, at minimum the historical setting and the slicing up of monsters, however the two are obviously different in a lot of ways.
Really enjoyed Dororo and I’m keen to find the first anime one day too.
Review count: 151 (Dororo was the ‘runner up’ in the little vote I had for the 150th review)
Nine years passed between the release of Mushi-Shi(2005) and Mushi-Shi (Next Passage) and I’m glad I didn’t have to wait that long myself 🙂
For me, having come to the first series late, I was lucky to be able to watch both reasonably close together… but now, after having finished, I’m also sad that there’s only a few specials left for me to seek out. Still, I can easily re-watch an episode here and there because both seasons are truly episodic.
Lazily, I’m going to quote from my first review for the premise:
Mushi-Shi is full of fable-like episodes that seem to draw on equal parts Japanese folklore and creator Yuki Urushibara’s fantastic imagination, exploring the lives of regular and remarkable people in an almost-Edo-period-setting that includes lots of supernatural elements mixed in with the natural world.
There are plenty of similarities between the two series – for one, Ginko is still the central character but not a character that needs to hog all the screen-time; you’ll get to know the people whose lives he changes too but no storyline drags. You’ll also get an ending with each episode and usually, meet a new and fantastical mushi each time.
Next Passage is still quite calm in many ways, often sombre too, but that doesn’t mean the anime is without tension. Mostly, I guess I’m referring to production techniques and pacing when I claim that it is ‘calm’. Again, once more the natural world dominates the screen, both beautiful and disconcerting as Ginko travels through the seasons.
One change I did notice seems to be the colour – this season feels a little more vibrant and even more picturesque; it’s usually very soothing. Even the darker episodes seem almost ‘warm’, like ‘The Hand That Caresses the Night’ for example, with the yellows, greens and browns.
If you enjoyed the first season then this will satisfy on every level I think – there’s even an episode with a little more about Ginko’s past, so I was pretty happy to see that. It’s hard to choose a favourite few episodes this time around, but ‘Floral Delusion’ comes to mind for sure.
Aside from that category, to my eye Ghost Hunt fits firmly in the YA genre (to use the literature terminology). There are things like the ‘absent parent’ trope, a focus on first love and our young heroes take centre-stage (in generally believable ways).
So to switch back to anime vocab for a moment, this is a great shoujo series that I wished had been given another season. Maybe like so much anime out there, was it always partially meant to be a gateway to other media forms, or maybe – more likely I think, it just wasn’t popular enough for JC Staff to afford another season? I’m finding it hard to find much in the way of contemporary reception for a ‘non-landmark’ show from 2006.
But I guess you could say that I have a soft spot for JC Staff productions, and this feels like one of their stand-outs. Based on a series of light novels from (you guessed it) the 1990s, Ghost Hunt was an anime I stumbled across during a bit of a supernatural binge I was on a fair while back now.
And I was quite happy to find Ghost Hunt, since it featured comedy and drama while being genuinely creepy at times. I wanted to take a moment to talk genre too, because it’s very much ‘suspense’ rather than horror, so depending on your tolerance, even if you don’t like shows that are meant to be scary, I’d say that Ghost Hunt is most often ‘spooky’.
Part of what keeps the tone generally lighter a lot of the time, is the focus on humour, with banter and ribbing between a large team of characters (folks who do care for each other) as they work to solve paranormal mysteries.
I think I was especially drawn to the folklore and mythology aspects too, plus the occasional historical storyline. The season only covers a handful of ‘cases’ but the pacing is taut enough that you’re pulled along through the various 3 or 4 episode-long arcs quite nicely, I reckon.
Visually, I certainly have no complaints and Mai and Kazuya are engaging characters, probably exactly what you’d expect for leads in the age-group, but the supporting cast I enjoyed as much. There’s even a Catholic priest from Australia, John Brown, who uses the Kansai dialect. I’m not sure if I’m remembering this correctly from other shows, but it seems that because the dialect is maybe a bit ‘broader’, then it is sometimes used for AU and UK characters in anime?
Not sure how good my memory/understanding is there at all – in fact, if anyone knows I’d be interested in your thoughts 🙂
To finish at last, this is a fun suspense anime with a bit of folklore, comedy and romance mixed in. Like so many series, sadly, it never gets a chance to reveal all its secrets in regards to a certain key character, since there was no follow-up season and thus you might finish it feeling a little short-changed in some ways.
OWLS is a group of content creators who promote acceptance of all individuals regardless of race, nationality, gender, sexual orientation, religion, and disability. We emphasize the importance of respect, kindness, and tolerance to every human being. Every month we discuss real-world topics through online tours, sharing personal experiences and analyzing pop culture, literature, and other forms of media.
Excited to (finally) get my second OWLS post up and running – we’re looking at ‘Folklore’ and the Supernatural for August – thanks again to the team for the opportunity to jump in 🙂
Witch Hunter Robin (2002)
Witch Hunter Robin was released right around a ‘heyday’ for live-action Supernatural television. In the late ‘90s, shows like Sabrina,Charmed, Buffy, Angel and the X-Files were reigning kings here (doubtless in the US too) and I think traces of those shows are clear in this series.
On the other hand, in anime, the Supernatural sub-genre has probably been more consistently popular, independent of US trends, but Witch Hunter Robin has plenty of European mythology and ‘US crime show’ mixed into its Japanese setting. You could argue, perhaps that it’s a bit like another Sunrise anime, Cowboy Bebop, in that respect (only).
And there are definitely a few production aspects that lock Witch Hunter Robin into that time-period too, but while one of them is a mark against the show, I’m considering most of them as drawcards, rather than issues 😀
Okay, so here’s a tiny note on the premise: the series follows young witch-hunter Robin of Italy, as she adjusts to the STN-J, a sophisticated and powerful organisation tasked with capturing rogue witches… and innocent people who have yet to manifest their powers.
Now, since I tend to think of myself as maybe slightly favouring Concept over Execution, I really enjoyed the PKD ‘pre-crime’ aspect to Witch Hunter Robin. And while what happens to witches and ‘seeds’ in the series is sadly similar to what authoritarian governments continue to do to minorities, I’d have loved a bit more critique of that system… still, it’s hardly glossed over.*
Visually, the anime makes me think of a slightly grimier noir. It’s an aesthetic that I could maybe argue that Grunge helped popularise, and which extended into the 2000s… or perhaps I’m reading too much into that, and it’s more apt to consider it as something director Murase Shukou likes to use?
In any event, if you enjoyed that and certain other things about his works (like Ergo Proxy, Gangsta and even Genocidal Organ) well, they also appear to varying extents here in Witch Hunter Robin. Especially I think, a fondness for shadow, of dark coats, mysteries and ‘slow’ pacing.
So, I just alluded to the pacing, and in terms of the ‘main’ storyline – you will have to wait a bit for it to really kick-in. There’s a fair establishing phase where ‘monster of the week’ plots provide the action and world-building, and only small hints of the big picture, interspersed with quieter moments for Robin and other characters.
The series does build up to something big, but depending on your general familiarity with science-fiction and supernatural tropes, I think you’d see most of those things coming. But I was hooked on the characters and the tensions between them so that was no problem for me.
Most folks in the team have their secrets and even some of the minor characters too, and so there’s definitely time spent there, which I liked. In fact, my favourite episode or moment was probably the one focusing on ‘Master’, the cafe owner – and if I think about it now, he probably makes a bigger impact than a few of the leads.
So, as I sometimes do – I’m switching to dot points in a hopeless token gesture toward brevity:
Unpacking and dealing with some of the issues and discoveries Robin and her partners faced did seem compressed toward the end, and so I can see that as a flaw, even if it didn’t bother me too much personally.
Robin herself is kinda morose, though she’s not without spark. But her (maybe) obvious depression is sort of echoed elsewhere in the series, and so I definitely consider it a feature rather than a bug.
It’s interesting how little in the way of dialogue Robin has in some episodes, you have to read into a lot from her expressions, which are also repressed.
While this isn’t a typical action anime, I noticed that the animation for those scenes at times didn’t always feel fluid compared to other shows.
CGI. Above any other issue here, I suspect a modern audience might have trouble with this one. It definitely adds to the general grimy and downbeat tone of the series, though most of it has aged quite poorly. Just two years later, things would be looking better in say, Ghost in the Shell: Innocence, but neither anime resembles a new series with a high budget. Maybe it’s part of the charm for me, but it’s fascinating to note this would have been cutting edge in 2002. How fast technology moves, right?
The aspects around witchcraft, folklore and lineage was something I would have liked more of, and maybe that could have happened with a second season… but on the other hand, I like where Witch Hunter Robin ended too.
Character design stood out for me, as did costuming – even Robin’s courier moments. Mostly, I suspect I enjoyed all the ‘coats’ – not just your classic dark trench for the STN-J, but Robin’s more complex outfit or Nagira’s white fur, which really catches the eye.
Nagira himself quickly became a fav too, especially when Amon seems to occupy the role of ‘jerk’ for a little too long.
The opening song was pretty ace, very much of the era, and within the series itself I liked the sombre piano to Robin’s theme. While I mostly remember that piece, there’s also Flame which is plenty dramatic.
And finally, it’s recommendation time!
You’ll see that I’ve rated it the series a ‘5’ but that’s me – if you’re not me, which is pretty likely, then you might not enjoy this as much as I did.
Especially if you have trouble with old CGI or pacing that’s more Mystery than Action, or if you are drawn to more upbeat lead characters. However, if you like other works of Murase Shukou, noir-influenced supernatural shows, leads who are not precisely ‘open books’, then this might just appeal.
*[Bit of a spoiler perhaps] Nagira, who appears as the Yakuza lawyer, and who operates essentially as a criminal, is the one advocating for and protecting ‘seeds’ in Witch Hunter Robin.
And in an all too common reflection upon real life – you have a large corporation with government-level surveillance and a militant arm, which is obsessed with order and control, and thus ‘becomes’ the true villain.
And while Robin at first works for them, and maybe believes in their mandate, she eventually comes to rail against it all, with Nagira’s help.
Here’s a few examples of where the CGI reveals its age:
And now a few extra shots because I wanted to add them, basically 😀
Tokyo Babylon (Tokyo Babylon: A Save Tokyo City Story) 1992-1994
Hello! Today I’m hosting a collaboration with Curtis from Iridium Eye Reviews – our second, actually! We first reviewed Satoshi Kon’s Tokyo Godfathersand today we’re going into the supernatural and the occult with CLAMP’s Tokyo Babylon, which can be seen as a bit of a prequel to X but still stands alone.
Thanks again to Curtis for watching this with me and also for jumping around from topic to topic in the write up, as I seem to do 😀
Ashley: Curtis, I wanted to start perhaps in an odd place, with genre or even tone – and see where you thought the OVA landed? I found this note on wiki (wish I could get to the source actually):
Producer Yumiko Masujima remembers how difficult it was to recreate the manga’s atmosphere in the OVAs.
And I thought the episodes were highly atmospheric, strikingly so, but part of me feels that the comedic moments didn’t quite fit with the occult/supernatural, darker tone of the rest of each story. Of course, I’m not a fan of any single tone or mood being ‘unending’ in a work, I love variety, but I don’t know if the sillier moments brought levity or actually undercut the mood.
Curtis: I would’ve never guessed that about the Tokyo Babylon OVA. While I haven’t read the manga, I do think the mysterious atmosphere does show up quite frequently. You even have the darker color palettes going on with the character outfits and the backgrounds. Certainly lots of black and red coloration on so many things. The mix of Gothic and occultic aspects did work more often than not in the visual presentation.
I thought the sillier moments in the first episode seemed out of place like the random jokes, brief comedic facial expressions, or the scene where Seishiro tells Hokuto to go on a diet just seemed off to me. That was a tonal clash with the murders here. They do dial it back in the second episode, but there were also some random moments like Hokuto dressing up in a pink cat girl outfit and briefly meowing. I don’t need to see some prototype Tokyo Mew Mew stuff in Tokyo Babylon, please.
A: Yep, I haven’t read the manga either but I’m certainly curious. Especially to try to learn more about that tonal imbalance. I thought that Hokuto was meant to be a fashion designer, and maybe that helps explain the distinctive outfits for her and her brother, and given the production period I can see a lot of Michael Jackson in Subaru’s first episode outfit. In fact, the costuming really stood out for me – that distinctive CLAMP look with the huge, square shoulders etc
C: Of course. Not to get too ahead of myself, I can see why this particular OVA would be an attempt to get some readership for that CLAMP work. I wonder if those same readers stuck around for X when it came out later.
Okay, I can see that making sense with Hokuto. I didn’t even think about Michael Jackson with Subaru’s outfit in the first episode. Wow, I can’t un-see that. I wouldn’t be surprised if “Thriller” popped on if he was walking around. How appropriate since he does deal with the supernatural. Haha!
Those are typical of some of CLAMP’s darker works from what I’ve noticed such as xxxHolic, the aforementioned X, or some of their manga series such as Legal Drug to name a few.
A: Me too! And I don’t really remember seeing Subaru in X but I’ll have to rewatch it now 🙂
What struck you as a highlight or a strength across the episodes?
C: The atmosphere was certainly a strength. The second episode felt moreconsistent with the more serious tone. Since it’s Madhouse, they certainly deliver in the animation department. Sure, it’s not as impressive as a lot of their later works and has aged some, but it holds up as far as some of their early 90s projects are concerned. There were some creative elements in the fight scenes such as those bird spells, the dog spirit in the first episode, or Hokuto creating a magic circle on the ground with only using lipstick.
I thought a lot of the voice acting was good in the Japanese version. I was surprised to find out that Subaru was voiced by Kappei Yamaguchi of all people whom I didn’t recognize. He’s known for playing far more energetic characters such as Usopp from One Piece, Inu-Yasha, or Monta from Eyeshield 21 to name a few. The delivery of him being timid and overly polite to a fault was certainly against type compared to Yamaguchi’s other characters. Okay, there is a bit of a hilarious in hindsight aspect when you consider Subaru isn’t the only detective to be voiced by him with Shinichi “Jimmy” Kudo from Cased Closed/Detective Conan as well as L from Death Note. Most of the other characters had voices that worked for them even though I found Hokuto to be a bit shrill for my liking even if it made sense for her having comic relief moments. One of my favorite voice actors Takehito Koyasu shows up as Seishiro. Granted, he talked in a bit of a higher register than most characters he typically plays, but he had the right mix of having a deadpan sense of humor, being very calm, but also a sense of creepiness about him (the flashback at the beginning of the 2nd episode being a major example).
The usage of magic seemed to be grounded. The mix of Japanese paranormal elements was certainly fascinating as it’s infused with more Western magic. There were creative usages with the spirits, scrying, and the concept of post-cognition was quite unique. I did like a bit of the symbolism with the Sumeragi twins. Both of them are named after stars with Subaru being a reference to the star cluster of Pleiades (Notice how the car company of the same name has stars in their logo?). The symbolism of that part of the universe comes from a dual meaning in Greek words for sailing as well as a flock of doves. That’s brilliant because he uses white birds in some of his attacks and one can argue that he tries to sail through paranormal seas to make sense of anything when not many can. Hokuto’s name is the Japanese term for the North Star. Despite how wacky she can be, she is able to help encourage her twin brother and navigate him towards the right direction if he feels down or too hard on himself. That was a brilliant correlation with the twin siblings’ interactions with one another.
A: Agree on all of this, yeah – I really liked that detail with the lipstick too, it gave her a bit of extra dimension too, beyond shrill comic relief.
There was also some really dramatic (and effective) direction during the confrontation at the end of the first episode – and this big kinda ‘hero shot’ of Seishirō that I loved. In fact, reading up a little about his role in the manga/having now seen a key scene in episode two as well, it seems a touch menacing just as much as it suggests ‘avenging’ too.
I guess it all feeds into that atmosphere we’ve talked about – all those reds and black, and those stills in the opening to episode two seemed to be composed so well. And I missed the naming and mythology, awesome – love the idea of ‘guiding’ and with the twins’ relationship it seems spot on.
Related perhaps, the Tokyo Tower/Babylon and folly of the villain in episode one made me wonder about the production time, right around an economy burst in Japan, and so it seems fitting then to have a developer as the bad guy. And maybe I shouldn’t be surprised when that sort of thing repeats in modern times, both in fiction and real life.
C: Nice! I was worried that she would be just some filler character that’s just thereto take space, but it was great seeing her actually do something to aid others. Although to be fair, this is CLAMP being an all-female manga group, so I know they would never make Hokuto some useless character and they have a good track record with a lot of their heroines.
Definitely. Seishiro certainly had his big hero moments in both episodes. He certainly seems to be the most capable of the trio while also being the most dangerous which he lampshades when he fights against these criminals. I looked up a little bit about the character in the manga and in X, and it really gives another dynamic of why he does things as there are some ulterior motives.
No problem. It was something I wondered. I thought about the Subaru logo when seeing his name even though he’s not the only anime character with that name I’ve seen before (.Hack//Sign, anyone?). I heard of the name Hokuto because of Street Fighter EX, but I also realized afterwards that the anime Fist of the North Star’s Japanese name is “Hokuto no Ken”, so that made some sense with the star imagery with both twins.
That’s right. Several Asian countries did face a recession in the 90s, so that was fridge brilliance on the creators’ part. Given the current global economic situation, this makes the undertones even more resonating in hindsight especially since in America, the unemployment rate is equivalent to the Great Depression.
A: It’s like being hit from all sides right now, huh?
Anime can feel… maybe a touch frivolous at times, but on the other hand – I’ve really needed the distraction (maybe like most folks) over the last few months.
I’ll try to clumsily segue back toward where we’ve touched on the villain(s) of the OVA, which actually leads me to Seishiro again. I know we’ve already chatted about the flashback scene where he appears to be kinda grooming or at least starting off a pattern of manipulation with Subaru, but given the two episodes only reveal hints of this, I’m left feeling like I won’t get much of a resolution there. Obviously, I think you can still enjoy this OVA without taking the funnel into the manga, but that unfinished thread makes me wish more episodes were produced.
It’s a bit unfair of me perhaps to call that a ‘fault’, but I thought I’d ask what flaws or issues you found with Tokyo Babylon?
C: Yeah. History can really re-contextualize so many things in numerous arts. I’ve certainly noted how this happens in my other reviews with some things being better, different, or worse in hindsight.
I can definitely see that point. While I haven’t watched as much anime as I have recently, I did need to have some kind of escapism in between work and trying to stay informed of the current state of this world (COVID-19, the racial climate, US politics being an election year, etc.). Trust me, I really needed something like that lest I become irritable or paranoid. Okay, moving on…
That is certainly an issue with Seishiro since he has all of these subtle dynamics. Without getting any more context from the manga and/or X, I would have no idea why he has those kinds of interactions with Subaru. The unfinished aspect of the anime would be the biggest flaw and I’ve certainly noticed it with other OVAs of the 90s and 00s that felt like glorified trailers for the manga series they’re based on (Fight!! Spirit of the Sword, Angel Densetsu, and even the Battle Angel anime come to mind). Going back to Seishiro, I thought he had a habit of Tuxedo Masking the situation if that makes sense. Actually, it might be even more excessive than Mamoru’s/Darien’s alter-ego because he makes the final attack while Subaru is licking his wounds. This undercuts the main character and he should have at least made that coup de grace in at least one of the episodes. That was such bizarre characterization that did the medium no favors.
Besides the unfinished nature of the OVA or how Seishiro was portrayed, I had some issues with some of the audio and certain characters. I was not a fan of that insert song that was also the ending theme in episode one. It sounded like a really cheesy visual kei ballad that went nowhere and was chock-full of random English lyrics even by anime standards. I couldn’t take the schmaltzy nature of that song. While the main trio certainly have their own clearly-defined personalities, I had some trouble getting into some of the supporting characters. The detective felt generic to me even if he did have purpose in the plot. The villain in the second episode was way too shallow. Murdering people over a seat on a subway? That is one of the most petty things I’ve ever seen a villain do and it just made him way more cartoonish even if he was threatening.
There was also an unintentionally funny scene where he tells Mirei to run as he gives her a ten count before he chases her. Really? You’re going to rip off Shere Khan from The Jungle Book (yes, the Disney version)? The only thing that would’ve made this even more egregious would be if he told her that she’s “trying his patience” in the middle of said countdown. In addition to those things, this OVA felt like a case-of-the-week format, but never follows through because of the two episodes. Looks like I’ll have to watch the live-action sequel, read the manga, and watch X TV to find out everything that happens in that part of CLAMP’s universe.
A: Yes, great point about the villain from episode two – it felt incredibly flat, or at least a lapse in the characterization maybe, because the seat motivation spoke of zero rationality, like they were going for supremely ‘out of control’, but otherwise, there was time taken to show that he was quite functional.
To pivot back to something I really liked – Satoru Miyatake, who collected and catalogued stone and the attached memories, from building sites was fascinating. I really liked that idea and wished it could have been expanded somehow. It really fired my imagination though he was really just kinda plonked down into the storyline there in a way!
C: Thanks, Ashley. That episode’s villain felt like some generic and shallow “evil for evil’s sake” caricature. Killing people over a seat has to be one of the most superficial villain motivations I’ve ever seen. As much as the Joker can be chaotic (the severity of such depending on which iteration being shown), even some of his reasons go beyond “because he’s evil and/or insane”. Come to think of it, he did seem functional albeit extremely violent which hurts the narrative even more.
That was a great idea and I definitely agree with Satoru Miyatake. It gave a new dynamic that I’ve never seen before with the concept of scrying which really works in an occult detective context. That’s a superpower you don’t see too often even in a psychic or supernatural context. This could’ve been explored much more like finding out a character’s personality or past by what they own or that power being used to solve more crimes.
A: I love to see more of that too – actually, I’m re-watching The Vision of Escaflowne at the moment and the Tarot stuff gives me a slightly similar vibe. I miss that sort of thing in supernatural storytelling too!
So, I feel like I’m going to end up ‘shooting for the middle’ here with my rating – and say that I think 3 out of 5 stars suits how I feel about it. Worth a look but not essential for me, despite how much I enjoyed it for the most part.
C: Nice. It’s such a unique power and it would’ve been so perfect for Tokyo Babylon. Escaflowne is definitely one series I would like to see again. I still think it’s crazy how this got played on Fox Kids briefly alongside Digimon, Power Rangers, and X-Men reruns back in the day.
Using your rating system, I would give Tokyo Babylon a 2.5 stars. There were some good things in that anime which I don’t deny, but I thought it was average as a whole. I could see CLAMP fans digging this more than me especially if they know things about the manga, X, and/or Tsubasa: Reservoir Chronicle. Thank you so much for collaborating with me on another anime review!
Welcome to my 6th ‘Abandoned’ post and of course, my usual disclaimer that I might come back to these one day!
Ga-Rei: Zero (2008)
During my slump the other month (when I was having a lot of trouble finishing things) I started and abandoned various anime and Ga-Rei: Zero was one of them.
I’ve seen (or attempted) a fair few shows in the supernatural genre of late and this one had a few interesting things that I hadn’t seen heaps of times before, and visually I certainly had no complaints… but it made a classic storytelling ‘error’ as I see it.
I understand that the style of error I’m eventually going to mention is usually played as a twist but it had a secondary effect for me, which was to make me stop watching.
Basically, between episode 1 and episode 2, Ga-Rei: Zero changes the cast of characters completely. Suddenly, I had to meet a whole heap of new folks and do the work of finding reasons to care about them – and instead, I just didn’t and ended up moving on to a different show.
Maybe if I wasn’t in a slump I might have kept going… but I didn’t have the energy to watch (basically) two versions of Episode 1 back to back.
2. Ghost in the Shell: SAC 2045(2020)
Gave this a shot the other day but I couldn’t get on board with the visual style. Cool to hear original cast members back for the voices however 🙂
Ultimately, I didn’t see enough to have much of a response re: storyline or anything else about this series, and I could probably come back to this one day, just to see more and give myself a chance to form a real opinion. For now, it’s pushed down a bit on my list.
3. El Cazador de la Bruja (2009)
The ‘girls with guns’ sub-category is one of my favourites and the setting was great so I think I’ll give this a shot again one day for sure, but since I tried El Cazador during my slump, I wasn’t able to finish the first episode.
It felt like it was taking a bit too long to kick off and in a way, that’s probably not true, but again, mid-slump I was only able to finish things that immediately and deeply hooked me from the opening few minutes.
Okay, here’s a challenge for me – can I review a series in four paragraphs only? Let’s see.
Demons, Angels, Gods and Humans clash (and sometimes work together) in this supernatural fantasy, one that’s based on a card battling game from Cygames. You can expect a lot of modern, flashy animation (which is not a bad thing) and a memorable cast of characters too, along with a well-paced story. At the end, I was definitely left curious about the follow-up series, so I went away from Rage of Bahamut invested in the characters for sure.
Since I missed this show at the time of release, I did a bit of reading and apparently some folks were down on Naoyuki Onda’s character designs but for me that was a highlight – here they seem ‘off the wall’ for a fantasy setting, especially Favaro’s afro. The rest of the visuals are great, the settings and the creatures all memorable for me, evocative of what they represented with what felt like welcome modern touches – I’m thinking of the angels especially here.
I suspect at times folks might question a few character choices that suggest inconsistency but for me I was more thrown by a certain reveal that explained a sharp twist in one character. She started off kinda mysterious before transforming into tediously immature… but that was only a few times and it definitely makes sense considering the storyline.
In terms of audience, Rage of Bahamut is not so light-hearted as another Cygames/MAPPA collaboration (Granblue Fantasy). The tone here is at times closer to ‘Lupin’ only with more bounty-hunting, blood and demons too. If you’ve played the game you’d probably enjoy what seems like a proper fleshing out of the characters and if you like the genre, give this a look if it’s still streaming somewhere.
*I’m not counting this note as a paragraph – but since my discs for this series are not playing nice, I’ve had to source the images from online.
Special 7… seemed to sneak in right around the end of last year and I only stumbled across it earlier this month – I wonder if what I imagine was a lack of fanfare came from the time of year, or the fact that the show didn’t ‘take off’?
In any event, I thought I’d give Special 7… a shot because it promised detectives and the supernatural, and after I started, the pacing was nice and brisk.
It’s not a show with a giant budget however, so if you take a look I think you’ll probably be following along due to the main plot rather than other aspects. For me, it was the ‘troubled detective with a past’ trope that had me watching as much as anything else, that and the never-fully-fulfilled promise of bold supernatural elements. (Ichinose was also interesting in that he wasn’t a typically-athletic tough guy either).
The supernatural wasn’t absent either, but on the other hand, having elves, dwarves, vampires and dragons co-existing in a city sounded like it’d be perhaps a little closer to the chaos of Blood Battlefront Blockade. Instead, it felt more like regular crime show – although I think the CSI/Criminal Minds-feel here was also perhaps a little light.
Ultimately, it was probably mostly the character backstory of a select few team members that kept me watching, and the occasional flash of humour. Not a stunning fantasy show, but if you like crime too, there might be enough here for you.
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.
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.)
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 😀
This is a fast-paced action OVA based on the 1971 manga.
It’s also the second of three adaptations of the source material, with a longer series in 1973 and a thirteen episode release in 2001. Here however, the OVA compresses the storyline pretty hard, rushing through events across four episodes.
Like a lot of early J.C Staff productions the budgets weren’t high compared to the current climate, and so you’ll see lot of repeated shots (especially in the final episode), pans across stills and other cost cutting techniques but it is interesting to see a show hold on to the 1970s aesthetic. It was also nice to see the really hard lines used for some of the freeze frames.
I also found it fun that a range of psychic abilities were the main aspect to the hero and villains’ powers and the action sequences, as it’s an area of speculative fiction that’s fallen well out of fashion I think. Again, due to the focus on battles and at first, some intrigue, BabelII isn’t one to watch if you’re seeking a lot of character development – though Juju does get a chance to evolve.
Elsewhere, I’d have loved some more variety when it came to the sound design because woah, the electricity/psychic-force sounds quickly grew abrasive for me. I think if you’re a fan of 1990s OVAs or more so Mitsuteru Yokoyama (Tetsujin 28-go, Giant Robo) then maybe take a look if you’re curious. If you’re after a more measured adaptation then I think the 1973 series would be the way to go.