Wakaranai

 
The name and preview did their best to hamper my enthusiasm for this week’s episode of Macross Frontier. With a name like “First Date”, it was a given that the plot behind the Vajra was to be put on the backburner, and that action scenes wouldn’t be making any appearance. With trepidation, I but these forecasts aside and enjoyed the episode regardless of its uneventfulness. It may have been a mistake, but I never got into Macross Frontier to see coy courting and teenage angst play out, I wanted something with more of a punch, something that could grab hold of me each episode and leave me hanging for the next. Of course, being a Macross series there was naturally going to be a focus on a love triangle, which is something I have no objection to at all; I love a good love triangle.

But compared with the riveting romance entanglement seen in Macross Plus, Macross Frontier has approached the romantic aspect in a wholly uninteresting way. Sure, Alto and Ranka have shared a few moments of chemistry, but this particular episode is the culprit in the crime of devolving the whole scenario to a rendition of a Disney high school movie. The core relationships appear to be plodding along immaturely, and they lack in intensity and charm. For a love triangle to work as an impacting dramatic device, I should, at this stage, care about who Alto ends up with, and I should be involved with the emotions of the characters in their romantic struggles. Presently, I couldn’t care less who Alto ends up with. I like all three characters here, but because their relationships are so trifling, developments like this don’t seem to matter.

I suppose this episode served another purpose, which was to give the audience a better look at how the Macross Frontier fleet functions and to lend us a glance at the society spread throughout. This was basically summed up in the preamble though, and Alto and Sheryl’s expedition did not uncover much of interest. I did like the way Sheryl seemed so enamoured with Macross Frontier, giving me a better idea of the disparity that potentially exists between fleets. It means that, even though Frontier seems like a space-bound paradise, a little more depth has been put into the society of colonial humanity than that. But the highlight of the episode, which was definitely unexpected, was Ranka’s song (What ‘Bout my Star?), which is wholly catchy and really showcases the polished pop-idol vocal talent of Ranka’s Megumi Nakajima. It’s definitely my favourite of the songs that have come up so far. Unfortunately the scene wasn’t as good as it could have been due to the shortcuts in the animation used. Unlike Sheryl’s number in the first episode’s concert scene, Ranka’s spot in the limelight was marred by cheap-looking animation. Actually, this whole episode was plagued by typical problems in tv anime: unnaturally empty background scenes, or, if they do have people they’re completely stationary to the point where it becomes a pretty big distraction. When clapping kicked in in the song, and it panned over a completely still audience, it just felt too cheap to ignore. At least the episode was not plagued by less palatable problems of malformed character designs.

Of course, the Vajra story was not entirely absent, and the brief developments on this front were the darker and definitely more compelling side to this episode. I maintain that there is something sinister going on with Leon, especially now that he seems to be coalescing with a mysterious figure (Mr Bilrer). But really, this was my least favourite episode thus far, and I’m hoping that the little cliffhangery scene at the end marks a renewed pace and sense of danger for the series.

Progressions:

Leon is gathering together all the people who know about the existence of the Vajra (Does that include Sheryl), at the behest of an enigmatic figure, Mr Bilrer. It’s not known whether the president is aware of this.

The Vajra are not an autonomous being, but are instead biological weapons being externally, and remotely controlled. This really begs the question: how? It’s no easy feat to control, in real time, from a great distance. So, realistically speaking, some other undetected thing is following the fleet and controlling them from nearby, or they’re maybe even being controlled from within the fleet somewhere (which doesn’t make a lot of sense given that other fleets have evidently been attacked as well).

Ranka seems to have well and truly overcome her self-doubts about going into a singing career, mostly motivated by a desire to prove herself in the eyes of a disparaging brother and Michael. She also seems to have been generated some interest with her spontaneous performance this week.

 
Sword of the Stranger is both unusual and refreshing in the way that it seemed to come out of nowhere and prove to be a remarkable anime. It seems, lately, that anything warranting a large budget and a lot of effort from a studio is either a sequel, an adaptation based on a successful manga or novel, or the next dull addition to a creatively stagnant franchise. None of these things, Sword of the Stranger is an unexpected big-budget film, which leapt instantly to the forefront of my favoured anime movies with exhilarating action sequences, captivating visuals, raw, evocative music and simple but affective characterisation. The look and sound of the show will instantly grab you, and perhaps even carries the film over the insubstantial plot backbone.

Some people have already ordained this film as a classic of sorts, but I’d have to disagree with that, simply because, although it hits hard and fast with splendour, and resonates beyond mere eye-candy, it doesn’t have a crucial element to elevate it into that tier. The characters do have sufficient weight for the audience to empathise with them, and they are also very likeable, but I felt that my appreciation of the characterisation is due largely to the voice talent behind them. So, credit goes to the cast and not necessarily to the way the film was written, which perhaps had more featured characters than it should have. If the film had focused more on the central two characters, I feel it could have been a classic, or at the very least, delivery an even more powerful finale. Perhaps replacing some of the action scenes with more intimate, personal character moments could have helped. But that minor gripe aside, the big problem with the film was the gaping hole where the plot should be.

A plot should always be more than just a vague framework to drive a movie from one scene another all the way to the climax. It should give credence to the movie, so that the film has a certain importance or reason. As it was, the plot, both simple and relatively silly, told me that the film existed for the sake of great action scenes. It’s a valid premise for entertainment, but it means there’s no lasting impact on the audience because it doesn’t really have anything much to convey. There’s no story here I haven’t seen before in this genre, and for much of the time the plot is a little too confusing.

It seems I’d almost forgotten the potential for animation to be so visually compelling. On a technical level, the anime medium has frequent success, but transcending animation quality, it’s a very rare experience for an anime to be truly visually compelling, creating not just mood and detail, but also scenes of beauty. This film achieves that in a way that totally blew me away, and I don’t say that very often (I’m not one of those apt to calling every Kyoto Animation production flawlessly animated). The climax of the film, a roaring skirmish amidst snow and fire, is breathtaking and elegiac. More than just an impressive, visceral action sequence, it is tinged with emotion and dramatic tension, which drives the film up to its climactic pinnacle.

As I say time and time again, the concept of a conclusion is highly important to me. When anything ends I expect more than a bit of excitement, or an explanatory wrap-up, I want the climax to resonate and to pay-off the themes of the series/movie. This film does achieve that, and even though it is devoid of really challenging and engaging themes, it still manages to be moving with likeable characters and endearing score music. In my mind, an anime that can end on a powerful high note, with stunning production and consistent pacing, is a winner. Even though the film falls prey to a number of action film clichés, and at times feels like a rehash of bits of the samurai film genre, and even though its plot is undemanding and almost silly, it is irresistibly engaging. Beyond anything else, this should definitely be approached as an action film, and with that approach, I can safely say it is a great accomplishment in its genre. It is fast-paced and features fierce, clever battle sequences, but more importantly, overshadowing the violence (which any action film can claim on), it is rendered with artistry and beauty, and effortlessly tugs at your heart. Frankly put, the only flaw in this film is the slight lack of depth to the characters, and the completely unremarkable plot. But if, like me, you’ve grown tired of the relative mediocrity of most anime television and want something to renew your love for the anime medium as an art form, this would be a good bet.

 
Macross Frontier is always a pleasure to watch, and this spirit lives on even in this episode, which shows signs of a deteriorating degree of polish on the visual production, as well as marking what appears to be the beginning of a slow-down for the show. Although the plot is still moving along nicely, and there is little filler, the sense of danger and intensity that were initially present have whithered away to be replaced with a more day-to-day tone, showing the more humoured, natural personalities of the characters. I’m not too sure I agree with this shift in tone. Although I should have expected it given its predecessors, the first episode got me so excited partially because it hinted at a hard-hitting, thrilling momentum for the series. Sure, this episode still had good action (very good action scenes, to be honest), but it didn’t have an air of danger, nor a sense of tension.

The show was never without a sense of humour, and neither am I; a good laugh is appreciated in any genre of any medium - but at the start it also had a sense of danger and urgency. With the slow-down effect, the first episodes could be considered a spark that simply died off rather than ignited. Was the beginning just an audience-grabbing attempt, which will now dissolve into a more comfortable, easygoing series? I personally hope this light-hearted nature, and the room for cliché it brings, is but a temporary lull, and that the show will go back from being simply entertaining to being gripping. This is the first time so far that I haven’t been looking forward to the next episode.

A lot of people tend to justify slower points in a series by saying it allows for necessary character development, but I say that’s nonsense. Generally the most important and profound character exploration happens in a crisis situation - most people don’t show their true selves in their everyday life. And so, barring a sincere moment between Ranka and Alto (which was little more than a repeat of last week’s), there was essentially no important character development. The reason I didn’t find the episode a complete waste of time is because it was still enjoyable to watch, sometimes even really funny (like Bobby applying some unwanted makeup to Alto, Alto being made to do la, or Ranka bowing right into the microphone). We did meet a new character (the colourful Klein Klan) and get to see a little more of the workings of the S.M.S (though not as much as I’d have liked). I must say, Klein Klan’s character seems to have no depth beyond comic relief, but she’s cute in her loli form nonetheless. I’ve gradually warmed up to Mikhail, but I still have great distaste for Luca.

One other thing of note was in regards to the production. This episode was no improvement from the less than flawless animation last week. Looking at the way the background detail is drawn or animated, it’s clear that the animation standards have plummeted. Some background characters are inexcusably simplified, scenes in the cities show little if any movement, and some shots felt jerky and cheap. It was a mixed bag though, almost as if there were two teams working on the episode - one on Alto’s segments and the other on Ranka’s, the latter of which was the main offender of poor animation. I won’t be pessimistic on this though, and I wouldn’t say it disturbed my enjoyment of the episode.

This is an episode guide for Macross Frontier. I haven’t really found a good guide for the episodes with synopsis around, so I decided to make one much like I did for Gits SAC 2nd GIG. Each episode has a link to my review/blog entry.

Note on the star ratings: The star ratings are not the same as the ones I used in the episode reviews and for anime in general. If I used those star rankings, which represent the average of the anime medium, then too many episodes would be highly rated. Instead these ratings represent the quality scale of the Macross F series, where 2.5 stars represents an average episode.

Please comment, or suggest something I can do to improve the page. If there are any other valuable sources of Macross F discussions for each episode, I can link to them.

Click on the episode title for my review.
 
 

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Of course, there was no way Macross F could just get better and better, and more and more exciting with every episode, so the fact that episode 3 is rather more subdued and less remarkable than the two before it is no real disappointment. Honestly, the slower parts in this episode could have been better used to facilitate more intimate and revealing characterisation (mainly the scene with Alto, Ranka and Sheryl trapped in the shelter together, which could have really been used to unequivocally establish the love triangle). And the brief scenes of mourning for the lost soldiers in the recent clash lacked real emotion, perhaps in part because of the use of music in those scenes, the score compositions just not being emotive enough. The scene wherein Ranka discovers that her brother isn’t quite as behind a desk in his line of work as she’d been told, seemed to be a bit overdone or overacted (or perhaps Ranka’s devastated outburst was just so at odds with her usual cheerful persona that it felt a bit jarring for me ). On the other hand, there were a number of important steps forward in the plot, and the interchange between Alto and Ranka chat at the memorial grounds achieved what their other encounters had not in really creating a sense of chemistry and a genuine emotional connection between them. It was also a great scene in that explored the characterisation of the two characters in a slightly new light, in that Ranka exposed her more fragile, introspective self, and Alto, finally in a situation that doesn’t preclude him to being either angry or stubborn, proves to be rather charming and emotionally mature.

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With the closing curtains of this gambling ordeal, the real loser in Kaiji is not its pitiful protagonist, but the audience. Although the ending is leaps and bounds above its counterpart Akagi (the climax of which was basically a declaration of inept pacing), it is wholly unsatisfying. Now, I’m no stranger to the anti-climax, and I even concede that anti-climax can actually work to enhance a story given the right mood and tone. However, what we have in Kaiji is essentially a finale that is as unrewarding as Kaiji’s failed endeavour itself. Without any valid reason, the end of the show steals away the prospect of Kaiji either triumphing or coming to a resolute personal epiphany, after dangling the prospect in the viewer’s face from the very beginning. Don’t get me wrong, Kaiji could have lost to Hyoudou and the series could still have ended on a gratifying note - but it was the blunt emptiness of the way the conclusion took him right back to where he started that irked me. It’s almost a law of a good story that your character(s) learns something or gains something. Kaiji could have lost but come to a realisation, or have a new life philosophy dawn upon him. He should have found something while crawling haplessly through every crevasse and corner of despair, some morsel of empowerment or hope. But in the end, Kaiji was not only thematically bleak, but it also lacked any real depth or meaning. It had no overarching theme, no twist, nor did it capitalise on the full circle principal of storytelling; it was all just a waste of time.

Sure, Kaiji was a highly entertaining series, often gripping and occasionally insightful into the inherent apathy and wickedness of human nature. I enjoyed watching it, but it ultimately lacked the core strengths that make a series memorable or even noteworthy. I think I’d be comparably vexed after having tried to complete a large hedge maze for a good 3 hours only to be told that there is no solution; it may have been fun to work through while I was doing it but ultimately I wish I hadn’t bothered. I feel this represents a huge waste of potential.

All bitterness aside, I’m happy about a few things. I appreciate the fact that Kaiji is a gambling series, much unlike Akagi, that revolves around logic and scheming. Although there were frequent allusions to some kind of preternatural luck, these assertions were always broken down to the culmination of tact and foresight. In that vein, this episode detailed the extent of Hyoudou’s scheme to cheat Kaiji out of his preprepared win, and although it vastly exaggerated the man’s intelligence it was still cool. I like the fact that he gave Kaiji a chance to land on his feet and win by letting him have a draw - just the kind of behavioural nuance a sadistic old millionaire should exhibit. Hyoudou went from being an annoyance when Togusawa was playing E-card with Kaiji, to actually being a pretty good ‘final boss’ so-to-speak. Really though, having the final half of the final episode be a retrospective discussion on what happened in the first half was quite a bad idea, dwindling the impact of Kaiji’s finger deprivation. I’d have to say, many of the earlier episodes packed a bigger punch, like the climax of the E-card or even Restricted Rock, Paper Scissors gambles. The highlight of the show was probably early in the series, with ANDOUUU’s betrayal. I think it’s a shame that they never played more complex games - perhaps then the talk about strategies and mind games would have been a little more compelling and believable. That’s one obvious advantage of Akagi’s - the involvedness of mahjong.

I will write a full review of this series, but for now I’ll bid it farewell with this statement: Kaiji is one of the most tense anime series around, and it’s hard not to be pulled into its heart-stopping edge of danger. But, looking back, it’s difficult to think of it as remarkable, and I personally feel that it wasted a lot of potential by having a meaningless conclusion.

 
The first thought that sprung to mind upon finishing the first episode of ‘The Daughter of Twenty Faces’, is that it’s essentially a bubbling decoction of ideas and features from countless other anime that have come before it. It would appear that this series is the product of someone who’s been watching too much Lupin, Cowboy Bebop, and too much anime in general. In essence a neatly-packaged regurgitation of the norms of spy/thief adventure, spiced up by the winning tickets of the present anime era (Hirana Aya, and a cute young girl protagonist). This means two things; that it doesn’t really present anything particularly new, striking or challenging; and that it’s a decent source of entertainment - an upbeat mix of style, car chases, cops & robbers, iced graciously with a definite aura of self-parody. So, don’t expect anything amazing from this anime, but don’t expect it to bore the pants off you just because it’s decidedly mediocre. If anything, it’s proof that the iconic antics of Zenigawa and Lupin are timelessly fun to watch, even reinvented (or perhaps just reiterated) twenty years later.

Of course, it doesn’t have quite the same charm as Lupin, which is probably where the biggest flaw in the series looms: it doesn’t put in a real effort to make itself stand out stylistically. Given its derivative plot and premise, it would have been a good idea to compensate by having a distinct or engaging look and feel. Yet the animation and the characterisation doesn’t really accomplish that whatsoever, Nijuu Mensou is cool and composed, but he certainly lacks the grabbing charisma of similar roles like Spike Spiegel. Our young heroine, despite being played by the omnipresent and much-idolised Aya Hirano, is not especially alluring either (despite my finding her pretty damn cute). Aya does play her well, capturing her bashful, introverted nature and her discontent with her life. I expect that the way she is voiced will change quite a bit as she takes to the role of jet-setting outlaw with the gusto that only a timid, restrained girl could muster. She’ll probably be more likable then, but for now she was too shy and hushed to make much of.

The animation isn’t all that great; I somehow expected it to be better. But, while it doesn’t quite meet my expectations, it isn’t exactly bad either. Although many of the action scenes look jerky and feature far too simplified cels (like the police cars giving chase), there are some moments where it does look really good, and the fact is, there is quite a lot of motion and commotion going on in each episode, which vindicates less than exceptional animation overall (less cost-saving scenes of people sitting in rooms and talking endlessly). The music is pretty cool actually; an energetic jazzy score helps exhilarate the action sequences, and the OP and ED are both rather nice to listen to (more so the OP).

The Daughter of Twenty Faces didn’t grab me and take me away like it did Chizuko, but it was enjoyable and held my interest. Given that the first episode is more of a set-up than a strong sign of the nature of things to come, I’ll be watching on with curiosity. I should probably make it clear, although I have referred to Lupin a lot, by no means am I implying that this is a copy of Lupin. Lupin is just the best example of the genre from which this show ardently draws from.

 
And now it’s time for a peek into my unfathomable mind on the subject of Kyouran Kazoku Nikki, the comedy of the season that isn’t very funny but is somehow entertaining anyhow. It’s fairly easily lumped in with the growing scrap-heap of the “lol random comedy anime” series, much like a SHAFT anime minus the headache-inducing inability to hold a scene without trying to do a million things at once. Perhaps it is even like Excel Saga (which I haven’t seen but may as well have given my exposure to it in AMVs and the like), but with a toned-down approach to crazy. This series is very inane and silly, and the premise is determinedly absurd, but it somehow is calm and slow enough to actually watch through and come out with a sense of coherency. I think that’s why I enjoyed it as much as I did, the fact that, although it may not be a laugh riot (it’s certainly not aiming for high-brow wit or satire), it’s palatable silliness that doesn’t go over the top and hammer oddities into you. The characters are also quite likable, from the enigmatic and authoritarian loli catgirl extraordinaire, Kyouka, to the grounded, well-mannered psychic-agent Ouka, and all the characters in between. The moe loli (Yuka) with scars is irrefutably and intoxicatingly cute, and I have to admit that the lolicon allure of her and Kyouka contribute heavily to my taste for this series.

Briefly, I should say that the production was good for a comedy series. The cel animation is very low in detail but despite this the show maintains a vibrant, colourful look with plenty of motion. Of course, reminiscent of Kobayashi’s role in Puni Puni Poemi, Kyouka here is looked to for a lot of the show’s energy and spirit, and she brings the requisite amount of upbeat character to the table. I especially like the way they made her talk in the background in every scene she’s in. The OP and ED are both fittingly crazy, but are lacking a bit in the catchy department. Listening to the cacophonous singing in the background in the ED made me wonder if they were trying to emulate the success of Iosys’s Marisa Stole the Precious Thing.

Although I don’t have a lot of detail to go into on this one, I’ll just say I enjoyed it and will look to this show for a staple intake of ridiculous familial dysfunction in my anime diet. With any luck things will be spiced up from time to time with some fanservice as well.

 
Well I’m powerfully relieved that a faster group has stepped onto the arena for Macross F. The lack of attention the show has been getting from groups has been as aggravating as it has surprising, and given the excitement promised every week, it’s torturous waiting for days after it’s aired. So, kudos unto the ADTRW-born Gattai for their subs, which are accurate, well-phrased and FAST. They didn’t subtitle the songs though, which didn’t bother me one iota but might disappoint some people.

The episode itself was nothing short of breath-taking, either rivalling or surpassing the previous episode in its stellar production values, super-fast pacing and appreciable characterisation. The battle scenes where packed with detail and vivacity, with the fray between the VFs and the Vajra and all its intense missile spammage played out to the stunning backdrop of the “night-time” city. Every scene is loaded with detail, and there are so many important scenes crammed into each episode that it becomes difficult to properly take in all the visuals and particulars. Rather than an episode being punctuated by a few intermittent scenes of visual splendour, each and every moment is rendered beautifully and, presumably, expensively. I’m sure it has to slow down at some stage, but the momentum with which Macross F tears its way through the plot is a major aspect of why the show is so enjoyable, outstanding from its competitors over the last few years, and most importantly, it’s why the show leaves me yearning for the next episode. The series has also tackled its characterisation remarkably well.

I think I can now safely say that Ranka is unequivocally cute. I wasn’t too sure about how much they’d make her a clichéd moe character, but whether or not they have she’s wooed me over. Her singing voice is actually really nice, and I’ve become totally adjusted to her voice now, after thinking it was a little..something last episode. Evidently, it’s something I can’t put my finger on. I liked Alto’s character more after this episode as well, and he and Ranka demonstrated some chemistry in the cockpit scene, although the “accidental breast-touching” moment was a little too far up the cliché alley for my liking, so it got an eye-roll out of 10 from me. That’s not to say I would have complained were I in Alto’s position. Ozma is shaping up well to take up the mantle of the obligatory badass pilot. Smacking Alto in the face was perhaps a bit harsh, but I enjoyed it nonetheless, and at the very least it is a manly way to communicate. I still really hate the character designs for practically all the minor characters through (Mikhail and Luka, I’m looking at you both - unfortunately).

 
Because I’m partial to many of the elements that Golgo 13 encompasses, such as assassin’s, CIA espionage, and a murderous bastard, I was reasonably excited about the Golgo 13 tv series. “Golgo 13 has been called a Japanese counterpart to James Bond, except with a darker character, a much more hardcore attitude towards sex, and a complete lack of morality.” Statements and descriptions like this are all over the net, and so even if I hadn’t seen or read any Golgo 13 before, it appeared to have a lot going for it. Disappointingly, it didn’t. The premier episode, which ought to make a good impression if any episode, was watchable, but also bland and unapologetically silly. I’m of the belief that a series with such a gritty and worldly premise as this one should either take itself as seriously as it can, or not take itself seriously at all and be a hell of a lot of fun (which is where James Bond fits into the spy-appreciation spectrum).

Golgo 13 is dark, there’s no denying that, and yes it could be called gritty, but its attempts at that mood are completely ruined by its flagrant disregard for the details and for realism. In this episode, it was very hard to get pulled in to the plot of the hijacker, because everything about the way the setup played out felt so false and asinine. Belief wholly unsuspended, I found that not only did I not care about the outcome, but had real problems following the patronisingly simple scenarios with any interest whatsoever. The way the plane-hijack resolution was somehow trimmed down to being entirely reliant on a single sniper shot was nothing short of ridiculous, as was the inference that there was only one man who could do it. Basically, there was no attention to detail, and the events in the episode were ubiquitously aimed at making Golgo 13 seem awesome. I’m not suggesting that there’s no skill in the refined use of the sniper rifle, but it seemed to me that the key to Golgo 13’s success was simply getting the right weapon, something which the CIA/FBI together are apparently incapable of. The show was leaking logic all over the place, preoccupied with relentlessly slapping aggrandisements unto its amoral protagonist.

It is a sign of poor scripting when a character is defined not by the nuances of his actions and behaviour, but by the unending utterances of awe from those who come into contact with him. There’s only so much “there’s nothing impossible for him!”, “he can handle anything”, I can take. When even his punctuality is propped up as some kind of miracle of badassery, you know it’s gone too far. I’m sorry, but you don’t make a comment like “right on time, not even a minute late, blah blah blah” when someone shows up for an appointment. I’ll have to try that one next time I have to be somewhere and see if I can garner any veneration from the benefactor of my immense feat of punctuality. About 60% of the episode’s dialogue was wasted on sloppy, unnatural lines of Golgo 13 worship. I didn’t buy any of it. Instead of being impressed by this man I was simply bored by him; his unyielding stoic demeanour made it impossible to like him or enjoy see him kick arse. I get that he’s a man of steel, but there should at least be some avenue to make his character accessible for the audience, some miniature gesture of emotion or virtue.

The production was much cheaper than I’d hoped. Gunslinger Girl II recently redefined my understanding of bad animation, so I can’t call it awful, but there is a distinct flavour of tackiness prevalent in the visuals. The lack of motion does not bother me so much, but the overall general style is very simple, and where there is action it is plagued by poor framerate. The background art is bland and simple, probably the most obvious flaw in the visuals, and probably a lot of the reason why the show looks so dour and washed-out (and not in a good atmospheric way at all). There was, fortunately, one animation highlight this episode and that was the climactic bullet-cam shot. The music is totally forgettable, including the OP and ED.

So all in all this was very disappointing. I might watch another episode or two just in case it suddenly revolutionises itself, but I’m now expecting nothing from this show at all. If this is a loyal rendition of the manga, then I’m really surprised that it’s gone for so long.

 
Ah, finally my prayers have been answered. Thank the gods. I wasn’t sure how much longer I could bare seeing shows with little or no value being subbed with greater speed and motivation than the much-hyped Macross F. It’s been a hard enough journey, fighting my way through every week since the archaic first episode special pre-release was aired. I’ve been craving more of the show for far too long to wait patiently for fansubbers. Although. Thanks goes to Anime-in-Action and their partners for releasing this episode with enough swiftness to stifle my oncoming descent into madness. Of course, I was always well aware of the fact that I’d essentially be getting a rehash of that which I’d already seen in the delicious Deculture edition, but I was keen enough just to see the preview for the second episode, and when I heard that there were changes and additions to the episode I was intrigued to see the new scenes and alterations.

Of course, I wasn’t disappointed; even if I, in conformation with the general consensus, felt that the Deculture edition was far superior to this “tweaked” premier, it was still marked by the same intensity, brazen pace and stellar production values that grabbed everyone’s eyes in the first place. And I did take note of the extra detail they dabbed into scene here and there, especially into the action scenes near the end. I really appreciate the depth to the visuals in each scene - it’s the main reason why I could watch the episode numerous times and continue to enjoy it, because each time through I spot something new (unlike many anime where there’s nothing to spot the first time).

When all is said and done, I think the feeling this episode left me with was one of enhanced appreciation of its predecessor, the Deculture edition. Because of the way that the snipping of scenes, changes in music and the insertion of new material drastically changed the flow of the episode into something that felt a lot more disjointed and less compelling, I got an understanding of just how well everything was edited together in the Deculture version. The pacing of that episode was just spot on, from the pleasantness of the character introductions, to the sense of foreboding to all-out chaos - things moved quickly but smoothly.

Although I can’t say I miss the teasing-Alto scene near the beginning, it and Sheryl’s in-flight awakening all contributed to the nice fluid build up by providing some slower scenes to start off with. Also I loved the visuals in that scene. A number of the scenes added were perhaps important to flesh out the characters, but they do so at the cost of the episode’s sense of tension. As Omni stated, splitting and expanding the concert was certainly the biggest mistake in that sense, as that was a great scene combining the sound and visuals whilst keeping the pace rolling along. Sheryl’s tantrum over the people employed in her show was a good defining moment of her character early on and completed alters my view of her character from what we saw in the Deculture edition.

A few changes to the soundtrack also didn’t go down well with me. The removal of the guitar piece used in the trailer here from the scene where Ranka is told she has tickets to the concert was disappointing, as that was a perfect fit to the mood (unlike it’s subsequent use in the preview). The addition of the track that plays when Alto meets Ranka is jarring with the mood of that scene and a little intrusive. I much preferred that the way it was musically as well.

Nonetheless, entertainment value remained very high and I’m as excited about the next episode as ever (I won’t have anything to compare it to disparagingly either). The trailer was so very promising - it looks like episode 2 will be action-packed and perhaps even emotionally turbulent. Bring it on.

Questions/Notes:

1. Why did the president seem to be privy to the attacking force? His reaction and comment that they’d “finally come” indicates that he considered their attack an inevitability. There’s obviously something more to the assailing force than just an aggressive new species/race. And furthermore it seems that the presence of the SMS on the 25th fleet was some kin of precaution in relation to this.

2. Why did the enemy squadron leader enter the city ship, and then approach Ranka specifically when it saw her. Everything points to the fact that the intent of the foe was to find and perhaps retrieve Ranka. This begs the question of what Ranka is, which in turn makes me dubious as to whether she is really Ozma’s sister.

3. Is it it just me or do all the character designs for the minor characters suck?

 
Kure-nai remains one of the most interesting anime to have come out this season, not due to the fact that it has any overt qualities like Soul Eater’s trippy animation or the draw of epic battle and plot, but because it’s an understated series which is deeply moody and straightforwardly enjoyable. If the first episode is a good indicator of things to come, then this series will be a soothing presence in the otherwise frenetic line-up this season. Although I wouldn’t describe it as particularly gripping or emotive, the first episode presented a very well-produced series with a dark, languid atmosphere that was very pleasant to sit back and watch after a busy day. Brains Base, in their third series, looks like they won’t be slipping up and disappointing me just yet. I loved their work on Baccano! and Kamichu a lot, and when I discovered that they were doing this show my anticipation for it changed and intensified. I went from wanting to watch for the cute loli, to wanting to watch because I knew it was going to be a unique and impressive production.

The animation is crisp and very detailed, and combined with detailed character designs, gives the show a mature look, which especially helps to accentuate Kuhoin’s childishness through her cuter character design (which looks a lot closer to the anime norm). As is to be expected from the motivated people at Brains Base, there is a lot of subtle motion to he characters’ movements which many people probably won’t give any thought to, but which help bring the show to life - things like people moving around while talking rather than just being the stationary puppets they are in more mediocre anime works. Kamichu! was a better example of this, but the tradition is carried on here. The cel art annoyed be in just one way, and that is that the eyes sometimes look distorted and unnatural, especially in the case of Kurenai who often looks like he’s just been punched below the eye. The background art is also very well done, but it is rarely given focus - usually engorged in dark a dark hue that makes it more a part of the scene than a pretty distraction. I did really like the backgrounds involving Kuhoin’s house, with the elaborate and attractive gardens. The sound production is another aspect that struck me as being well above average. The BGM is populated by slow melodic piano and other classical tracks - which suit the atmosphere of the show very well, but the use of sound effects is interestingly prevalent. More so than in other series, sound effects are applied to every little bit of movement - such as in the scene where Kurenai is talking to the laptop girl and their every gesticulation was punctuated by the sounds of their uniform being brushed against itself.

Beyond the production, the episode was enjoyable but not grandiose, thrilling or profound. It can’t be called mediocre, but nor can it be called exceptional at this stage. The characterisation is swathed in mystery, and outside of Kuhoin’s cute snobbyness few off the characters exert any striking personality traits to make them likable. At the very least, the male lead, Kurenai, seems like a decent guy with confidence and reliability. I really do think Kuohin’s is very cute, and I’m sure seeing her character come out a little more as she settles into her new environment will be a lot of fun. I have to say that I really hate the art style of the OP. In fact I’d go as far as to say it was just laughably stupid. The ED is more tolerable but not particularly fetching either. All in all, this show wasn’t all that striking, so maybe skip it if you’re schedule is already bursting at the seams with awesomeness, but it was pleasant to watch in a languid atmospheric kind of way so it might be a good thing to break the monotony of mecha battle, concerts and dragon-slaying.

 
This particular episode carries the torch in Shugo Charas! ongoing success, delivering some slapstick funny moments, some nice character interactions as well as some real tension in the form of an increasingly twisted Nikaidou and the turbid allegiances of Easter’s own Ikuto and Utau. Shugo Chara! is no less predictable than you would expect a show of this nature to be, but the large cast of characters still present an engaging set of circumstances and complexities in the story. Ikuto’s conflict between his work under Easter and his confused affections for Amu are particularly interesting. I actually half expected him to quit Easter then and there this episode, but apparently that’s pushing my luck for a show with a 2nd half remaining.

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Ailed by a deeply ingrained inability to study, I decided the best thing to do was watch the latest episode of the cheerful, fun Shugo Chara! It was a snap decision that payed off, as episode 21 was a great watch (a leap forward for the show in redeeming itself from the horrendous episode 19). There was the typical humour ingredient, as well as some heightened tension and drama in the return of the nefarious Nikaidou, who has taken up the seat of recurring villain. On top of this, the episode was electrified by the chemistry that was emitted by another Amu/Ikuto meeting. I think I’ve said a few times that I’m a fan of their relationship even if it’s more of a typical romance than I usually get into. Something about their fleeting and inevitably sensual encounters leaves me wanting to see more of them together. On top of their undercurrent love for each other, their interactions are made all the more exciting by the clash of morality and allegiances. Amu keeps finding herself allied with him, but she is still confused by his apparently amoral behaviour and commitment to Easter. It’s a good example of a layered relationship. Or perhaps my love for Amu has grown so strong that I, like Tomoyo is to Sakura, am filled with the desire to see her happy.
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  A certain expectation arises for an anime series such as this, which takes the effort to build a unique premise and story. Without the telltale signs of pervasive cliché, like a harem or giant piloted robot, I had good hopes for Kaleido Star. The show wasn’t even approaching flawless or astonishing on any technical level, or even in the way its story was written and reared, but what I found is that it had an intoxicating charm and that it was far more vibrant and ‘energetic’ than most anime. When I say energetic, I don’t mean just a cast of genki characters relentlessly talking quickly, and running around, I mean it had a certain sparkle in its eye, or a skip in its step that elevated it above its content, and even its technical quality of production. Something intangible was born from the sum of its parts, its voice acting, colourful animation, charismatic score music, and its amalgamation of so many fascinating characters and relationships. Even when I was shaking my head in the second season at how incoherent and silly the story had become, I was simultaneously glued to the screen, and enthralled by the climactic stage performances. Even though I’ve never considered myself a fan of anything to do with the stage or of shows that rely mostly on drama to hook their audience, I thoroughly enjoyed this series, both in the sense that it was fun, laidback entertainment, and in that it was occasionally emotionally stirring.

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