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When a sci-fi series in any medium tries to invent all kinds of everyday-use technology, it invariably ends up dating itself. A future filled with CRT monitors and gigantic cell phones is always going to mark itself as pre-flatscreens and smartphones, for instance.
Space Dandy, however, is atemporal. In its desire to be at once a futuristic sci-fi series, but also a throwback to the style of sci-fi pulp stories from the Space Adventure Cobra days, it elects to throw technology from different eras into a blender and create something that transcends time.
Dandy’s robot, QT, runs like an old, hunky PC, with limited battery life, outdated software, and printed-out punchcards. Meow uses a smartphone to take pervy pictures of the ladies in the Boobies bar, that seems to be running on a totally modern Android OS. Dandy’s ship can warp through space, but the teleporter is an “old model,” that takes about as much time to transfer people from one place to another as a camera did to take a picture in the 1800s.
The entire show is an anachronism. It’s digitally drawn, but Dandy looks like he walked out of the 70s. Aliens range from looking like menacing, planet-burrrowing space worms, to resembling adorable Pokemon. For that matter, it’s aspacial as well, with simultaneous releases in the US and Japan, each with their own dubs, so that it can’t be said where the show first aired. It’s an anime series which transcends space-time to occupy a totally unique plane of existence.
Now to watch episode two.
Throughout the first two episodes of Kill La Kill, I felt that Matoi’s costume design was meant for something a little more than fanservice. It’s not meant to be a commentary on the audience; sure, everyone who ogles her is represented as stupid, and she usually kicks their asses, but Matoi is nonetheless embarrassed to wear it, and there’s nothing to actively punish the viewer for ogling it. The point is more about saying: it’s okay to have a sexy character design; and rather than be coy about it, it should be a matter of pride.
Kill La Kill is utterly absent of pretention. It seeks simply to be an incredibly badass technical action showcase, and it thoroughly succeeds. Hiroyuki Imaishi is perhaps the most influential and important animator in TV anime alive today, and his new studio, Trigger, has brought his style into its own life. Unlike his previous shows Gurren Lagann and Panty and Stocking, which felt like a blend of a huge number of styles from a large group of contributors, Kill La Kill feels focused and uniform in style. It’s also Imaishi’s best directorial work yet in my opinion; the pace is insanely fast, but it’s also very consistent, unlike Gurren Lagann which could feel all over the place at times. In every technical aspect, Kill La Kill is as good as it could possibly be.
The storyline is simple as they come, and the show pulls no punches in being as over-the-top with action and fanservice as it wants to be, not holding back anything for anyone. Episode three is all about embracing that naked, unashamed nature.
Matoi is embarrassed to wear her armor because it’s scantily clad, and guys are ogling her—but she always holds power over them. She knows that they don’t matter, but she lets it upset her anyways. This shame in the very thing that makes her powerful, ends up being her downfall. Not unlike a show or movie created to be an action vehicle, but bogged down in attempted realism or a pretentious/overwrought storyline, Matoi can’t be the epic fighter that she needs to be if she’s busy being ashamed.
The school president, meanwhile, doesn’t give a single fuck. She knows that she’s amazing, and it doesn’t matter what anyone else thinks or says. She’s determined and true to herself—able to stand naked in her conviction and say, “come at me bro.” And in witnessing how the president’s determination trumped the opinions of those beneath her, Matoi is inspired to embrace the nudity that brings her power and fight with true conviction.
…did I just blog anime?!
Gargantia is awesome. It does an amazing job of suggesting an enormous amount of shit through visuals alone, even if that shit isn’t really delved into. For instance, the huge space battle in the first episode features all these fantastic patterns, formations, and suggestions about the nature of the main character and the current battle.
So what’s the show missing? Well, more of what it does best! Everything that’s shown in the series manages to suggest a lot; the problem is that in three and a half episodes of Ledo being on Earth, not enough has been shown! Ledo spends the better part of episodes three and four literally sitting on the mast of one ship in this huge Gargantia fleet, and while we’ve seen a bunch of short clips of Amy running through the town, and plenty of sweeping shots of the fleet, it feels like we’ve hardly even seen an ounce of this would-be fascinating location.
In episode four, Ledo finally gets off the starting boat and into town, but things are happening too quickly (not pacing-wise, mind), and he isn’t seeing enough. The episode is too quick to jump into a series of dialog dumps from its principal characters, instead of allowing Ledo to learn about them and their home organically.
While Ledo’s conversation with Bevel helped him start to comprehend these people, having this conversation is a wasted opportunity regarding what makes Ledo interesting. He’s a super-observant, quick-learning character, so if he’d been given enough time aboard the ship interacting with people, these emotions could have been brought out of him by way of his own observations, rather than hamfistedly being told to him by a slew of characters who probably won’t matter at all outside of teaching him things.
This hamfistedness is altogether the biggest trouble with Gargantia. It’s created a serious, involving world, with believably rational characters, but is too quick to tell them exactly what to do, like it’s working its way down a character development checklist. In episode three, the whole idea about Ledo not killing people is handled in a ridiculous manner. They still fight the pirates, and both sides assumably take casualties, so… huh? Was there no way to teach Ledo the importance of human life other than to take unnecessary casualties on their own team? Wasn’t the damage caused by Ledo killing in episode two already done, so at this point it didn’t matter anymore?
The Earthlings are not as logical of thinkers as Ledo, but having the military leaders apparently instruct Ledo not to kill seems a bit backwards. I expected them to let him off the reigns, at least towards the end when lives were in serious danger, but no one says anything, and Ledo persists in sparing lives (successfully, fwiw), because he’s not really on anyone’s side. I don’t question Ledo’s actions so much as those of the fleet.
Anyways, I’m still enjoying this show a lot despite these issues, and looking forward to what might come, especially after finding out this is an Urobuchi Gen show. In the coming episodes, I’d like to see the show pull back on the dialog a bit and let Ledo actually explore the Gargantia, preferably alone, without side characters constantly pointing out the significance of what he’s seeing. Flesh out this grand setting and make us feel a part of it, and let Ledo learn on his own, now that he’s past the first knowledge barrier.
First, the analysis of The Crystal Empire:
Also, my first impressions of the new episode, just so MisfortuneDogged can see it:
Of the great pickings this season, the show that’s caught my attention, and that I feel I may actually watch all the way through, is Tsuritama, a low-key show about a bunch of awkward, cute boys learning to fish. Or something.
Here’s a fun fact: Enoshima, the town in which Tsuritama takes place, is fucking tiny. Episode one showed random locations in the city, and lots of mention is made of the fact that the show takes place there (“Enoshima don!”), but I got the best sense of what kind of town it is by looking at it on google maps. (click to enlarge)
My neighborhood is bigger than Enoshima island. The average SM mall in the Philippines could barely fit on that thing (and artificial island Mall of Asia is actually bigger). Norfolk international airport, which is near my house and is the smallest airport I’ve ever seen, is the size of the whole above screenshot.
I don’t have a point to make about this; I just find it interesting.
Nakamura Kenji is one of my favorite directors, but Tsuritama isn’t like his other shows. Kuuchuu Buranko, Mononoke, and C were a lot more artsy and visually extravagant. Tsuritama nevertheless stands out with its bright and vibrant color palette, which it shares with Kuuchuu Buranko, along with the character design of Irabu-sensei (here seen morphed into the vaguely malicious Coco).
I don’t mind that Tsuritama is less artsy, because the reason I love Nakamura Kenji is that he makes offbeat and artsy shows that don’t get wrapped up in their own artsyness (the way I feel Masaaki Yuasa shows do). It’s also good to see Nakamura doing something more relaxed after C, which I felt was more or less a failure.
Because indeed, Tsuritama isn’t wielding a heavy animation budget. Like Kuuchuu Buranko and C, it feels pretty cheap, but because it doesn’t have C’s ambitious alternate world or combat scenes, the cheapness doesn’t stand out nearly as much.
On that note, this must be one of the lowest-budget A-1 Pictures shows I’ve seen. Usually they can be counted on for high-quality character art if nothing else, but Tsuritama has more than its fair share of iffy cuts. At least one A-1 Pictures staple is in-tact: all the boys are pretty as fuck.
Yeah, Tsuritama feels pretty gay a lot of the time, but somehow that just makes the whole thing more relatable for me. I am, after all, surrounded by pretty boys in real life, and we’re all gay as fuck, so I can’t even say anything about these guys. What was I talking about?
I like the show, anyway. It reminds me of NieA_7.
I don’t know if Shinichiro Watanabe actually choreographed the fight scenes in Cowboy Bebop and Samurai Champloo, but both shows featured spectacular combat sequences often showcasing strange and eccentric fighting styles. Clearly, Apllon isn’t a story heavy on fighting, nor would it make any sense for the characters to show of eclectic maneuvers.
Were this another show, I’d probably be complaining about the fight scene. Why waste high-grade animation on a fight wherein you can’t tell what the fuck is going on? I might assume that since it’s a non-fight-centric show, maybe they didn’t care that much about how the fights looked.
But of course they did. Watanabe always cares how things look, and I don’t care if this is a manga adaption, he’s going to leave his mark on it. The fight is meant to disorient. Not only does it not establish a horizon line—it seems to purposefully avoid one, cutting to random parts of the fight, showing people anonymously getting thrown around, all set to insane jazz music.
That’s the fight Kaoru witnessed. He didn’t know what the hell was going on—he just saw the magnificent beast that is Sentarou going nuts on a bunch of dudes and had about a million questions running through his head along the lines of “what the fuck just happened?”
Alright, ep 2 is done dling now.