The Frontline Report is a weekly column where I summarize my journey through anime, manga, and the related spheres of popular culture over the past week. Expect spoilers for covered material.
Just going to keep it honest with you folks. I have been enduring some pretty awful insomnia and some related mental health issues over the past several days. I have a little bit written about Mieruko-chan down below and that’s ALL I’m writing for this weekend other than the very brief “around MPA” stuff. Sometimes life is just like that. Hopefully you enjoy what I have written, and hopefully I’ll be in a bit better shape this time next week.
Seasonals
Mieruko-chan
An interesting thing about Mieruko-chan is that it can insert Miko, its lead, into ordinary ghost stories, where she serves as an observer and occasionally as a wry commentator. The most recent episode, for example, sees her accidentally lock eyes with a prettyboy at a Starbucks, to the great displeasure of the grotesque phantom of his presumable-departed following him around. She has to bluff her way out by convincing the ghost that he’s not her type while simultaneously not actually acknowledging its presence. But in a case of classic ghost tale morality, when his living date eventually shows up, she’s unknowingly escorted by a throng of her own departed lovers. The obvious implication being that they’re both murderers.
Beyond these interesting little situations, the show’s actual underlying narrative is pushed along a bit here, too. Poor Miko tries getting her hands on some juzu beads only for them to repeatedly pop apart in the presence of the stronger spirits she attracts. There’s even a pretty funny sequence near the end of the episode when a con-woman / actual practicing medium of some kind busts out her proverbial big guns; a shining, sparkling, glowing bracelet. She hands it over to Miko and it, too, promptly flies apart in the face of one of the ghosts following her around.
While the series is not exactly an earth-shatterer, I’ve always said (and I maintain) that the best solid seasonals tend to be good executions on genres that don’t get a ton of play, and Mieruko-chan proves itself a pretty good little horror-comedy here.
Wanna talk to other Magic Planet Anime readers? Consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directoryto browse by category.
All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.
This review contains spoilers for the reviewed material. This is your only warning.
When people talk about bonds, this is what they mean, isn’t it?
At just 40 minutes long, Alice in Deadly School only barely qualifies for this column, but I’m bending the rules for a reason here. Not a single thing about this OVA makes a lick of sense. In origin alone, it stands as a notable example of how odd the margins of the mainstream anime industry can get, stemming as it does from post-apoc idol show also-ran Gekidol (which, full disclosure, I haven’t seen). A friend called it the best anime of the year. Another absolutely hates it. It takes a truly special kind of anime to inspire strong feelings on both ends of the whatever-number-out-of-ten spectrum like that. And whatever else one may say about it, “special” is a word that describes Alice in Deadly School to a tee.
It tiptoes over the course of three or so different genres during its brief runtime, has a nowhereman visual style that, if you didn’t know, you could conceivably place anywhere from the past 20 years of mainstream anime, and is utterly fucking heartbreaking. I’ve tried to avoid using this phrase much over the course of the past year writing for this blog, as I was guilty of trotting it out too often in 2020, but the fact of the matter is that there just isn’t much like this.
Premisewise, at least, it has some ancestors. “Zombie outbreak at a high school” is not new ground for anime and manga; a cursory glance at anything from the infamous High School of the Dead to Dowman Sayman’s black comedy one shot “Girls’ Night Out of The Living Dead” will tell you that much. It’s hard to even argue that Alice in Deadly School brings much new to the table from this angle. Crossbreeding that particular premise with the girls’ club school-life genre has been done before too (see 2015’s SCHOOL-LIVE!). What Alice offers is lightning-electric resonance. Do you feel doomed every single day because of the relentless onslaught of soul-crushingly miserable news that permeates our lives, from the outrageously petty to the globally catastrophic? I have a pretty strong feeling that the people who made Alice do too.
The term “zombie” itself is never used–standard for the genre these days–but it’s pretty clear what the creepy undead Things taking over the high school Alice takes place in are. Our cast then, naturally, are the outbreak’s few survivors. The main focus is on the “manzai club”, in truth just a pair of girls–Yuu and Nobuko–who aspire to be a manzai duo.
They’re hardly the only characters (and I’m doing the film a disservice by only briefly mentioning the Softball Club duo here), but they’re the two most important. Through their eyes, we see the broken-down remnants of the high school’s world, and their character interactions are great too. Some of this is funny; the OVA opens with the two riffing about why melonbread doesn’t actually have any melons in it. (Because a melon is too large, of course.) Some if it is melancholy; the two ruminate on their pasts more than once, and we find out that Yuu lost her mother some time ago. Some of it is just upsetting; the pair also witness the zombie of a former classmate being shot through the head, and the OVA’s whole color palette goes black, white, and blood-splatter red in the aftermath.
About that; Alice has a tendency to warp its visual style toward whatever emotion the story is trying to convey in the moment. This is not at all rare in anime (or in film in general). In 2021 alone, works as diverse as Super Cub and Sonny Boyhave done it to lesser or great degrees. But a case this extreme in an OVA whose visual style is otherwise pretty grounded is notable, especially with regard to the backgrounds, which often take on a hand-painted look when the film needs to move away from “reality” to convey a particularly strong emotion; nostalgia, sadness, disquiet, etc.
As Alice ticks on, its cast hatch a plan to escape the titular deadly school. This part of the OVA particularly is rather straightforward, but it works.
Who says kids don’t need to know Chemistry?
And as Alice in Deadly School nears its end, I face a particular challenge.
You see, conveying why something hits you emotionally is hard. It’s arguably my entire job, but that doesn’t make it easier in cases like this. There are a lot of anime that end with a character death. It’s not rare, and most of the time it does little for me. I tend to consider it a little cheap; something of a writer’s shortcut. An easy way to tug on your audience’s heartstrings and also ditch a character you’ve run out of ideas for at the same time. It’s only rarely actually objectionable, but it’s one of the immortal tools of literature that does the least for me.
So when I actually am hit by one, I have to really sit and think about why.
Nobuko dies near Alice in Deadly School‘s very, very end. We don’t even see it on screen, but it’s clear that she’s contracted the virus and is starting to slip. Her and Yuu’s final conversation–in a strange, green dreamspace that is mostly in Yuu’s own mind–is devastating. One of the film’s key themes is that dreams, even if we don’t achieve them, can keep us going through even the worst times in our lives. Nobuko’s is her shared dream with Yuu, to be a comedy duo, and it tangibly, provably, does not happen.
But Yuu can carry on–though not without heartache–because Nobuko’s spirit, her own aspirations, live on inside her. Alice seems to offer the minor salve that perhaps no one is truly dead if they’re remembered. The final piece falls into place here, in one of the year’s single most….I don’t even really know. Brilliant? Audacious? Just plain weird? Artistic decisions; an apparent riff on the Love Live! series’ famous “Kotori photobomb”, here reappropriated as a symbol that no matter when those close to us may leave our lives, we will always carry a piece of them with us. It’s contrasted with a final cut to the reality of the situation; Yuu posing by herself in front of an empty swing set.
This theme of carrying your torch as long as it’ll stay lit bears out in a few other ways near the OVA’s conclusion, too. A character whose lifelong goal was to become an idol finds herself trapped in the school’s announcement room, and sings her heart out over the school broadcast system even as she’s actively succumbing to the virus. She imagines herself in a pastel pink music video even as she’s literally bleeding from the neck. For a single moment, she is who she’s always wanted to be. And then she’s gone, and her song ends like the flip of a lightswitch.
So is Alice in Deadly School ultimately a hopeful work? It’s a bit hard to say, but I’d like to think so, although maybe “cautiously optimistic” is a better way to think of it. The girls who escape only do so after they give up on any hope of outside help and basically rescue themselves. If we take Alice as an allegory for our fears about the future of the world–and goodness could it apply to a lot of them, as is a long-standing tradition in zombie fiction–maybe the message is that action is our only option. Then again, the girls flee to a nearby mall, apparently being maintained as a shelter by some other group of people. So perhaps the takeaway is that we can only survive with the help of others, but that we need to take the effort to actually reach out into our own hands.
The real brilliance of course is that you can take all that and more from Alice in Deadly School. It’s a truly fascinating little film. Not unlike a certain other short-form anime project that I covered not quite yet a year ago, it reads as a eulogy to those who are gone from the ones who are still alive, although its scope is broader. It offers a small hope; maybe some of us can make it out of all this alive. And for those who’ll die either way? Perhaps we can at least go out on our own terms. The same, really, could be said of Alice itself.
It seems doubtful that the film (or its parent series) will ever pick up much of a following. Weird little OVA projects like this almost never do, at least not over here in the Anglosphere. But for 40 minutes, it’s one of the strangest, most resonant, and yeah, one of the best anime of 2021. That counts for something. Hold it in your hearts.
Wanna talk to other Magic Planet Anime readers? Consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directoryto browse by category.
All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.
Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime. Expect spoilers!
I think I’m closer to figuring takt op.Destiny out. I could’ve told you from the opening minutes of episode one that this series had a flair for the dramatic, but “campy high-concept action series” is a pretty populated genre these days. That alone doesn’t tell us all that much. When I say that I’m closer to “figuring it out,” I mean I think I know what it reminds me most of, at least at present, and that would be Black Rock Shooter. Not the OVA, the TV anime.
Both shows are predicated on high melodrama and have a broad music theming tied together with ostentatious transforming heroine designs. There are of course some big differences too; Black Rock Shooter is a lot more esoteric than takt op has been so far, and being animated entirely in 3D CGI gives it a very different visual feel, but the general similarity is definitely there. And that’s a good thing! Black Rock Shooter is a real gem, and there’s enough interest in the franchise even ten years later that we’re getting a new anime based on it next year. So believe me when I say, I mean the comparison only in the most flattering of terms. Even the opening for the third episode (“Awakening -Journey”), an honestly kinda edgy scene where Takt and his new Musicart cut through swathes of D2s only to eventually pass out, will make you say “oh the drama” in a good way.
They’re rescued by new character Leonard, who is almost certainly more than he appears, but other than this scene mostly serves as a charming face to drop exposition and cryptic hints on us alike in equal measure.
To the Guy Enjoyer segment of my audience: You’re welcome.
His own Musicart, Titan, helps out here too. I’m actually a little sad she doesn’t get more of a role in this episode. (This is to say nothing of the other Musicart who briefly appears in the opening, cuts a huge magic tuning fork in half(??) and then disappears.)
Now does all of that mean that takt op‘s third episode is particularly great on its own merits aside from that scene? Well, I complained last week that it felt like takt op seemed to think it needed to “explain itself” in terms of worldbuilding and mechanics and such. There is some logic to this–this is a tie-in to a mobile game, after all–but it’s easily the weakest component of the show, and it takes up a good chunk of episode three. The silver lining is that the show’s production carries it even in moments where the story is a bit dry, and the characters are likable enough that even “dry” isn’t actually “boring.” This leaves us then with an episode that is a bit slow in spots but still mostly pretty good. There are worse things to be.
As for what is exposited to us, I won’t bother recapping every nuance, but there are two main takeaways here, and a third that’s essentially a restatement of something we already knew. Almost all of which comes to us courtesy of Leonard, filling his Guy Who Knows Things role here admirably.
One: The “Cosette” we followed in episode one and the latter half of episode two is not really Cosette. Musicarts lose their prior sense of self upon “awakening.” We learn–although anyone who read prerelease press materials sort of knew this already–that her actual name is Destiny, hence the show’s title. Everyone rather stubbornly insists on calling her Cosette anyway, though for the purposes of this column going forward I’ll be referring to her by her Musicart name and reserving “Cosette” for her prior, pre-awakening self. She’s also “unstable” somehow, which perhaps explains her wildly fluctuating power as a fighter.
Two: Destiny awoke in a very unusual fashion. Leonard informs Takt and Anna (and by extension, us) that most Musicarts are trained over the course of many years. (The even moderately attentive viewer will note this raises quite a lot of red flags about the whole “Musicarts forget their entire past lives” point, but that’s presumably something to be addressed down the road.) Destiny’s emergence, all at once, makes her very unusual, and Leonard speculates she may be a literal world-first. She also, again unusually for a Musicart, appears to somehow unwittingly sap Takt’s lifeforce when battling. This again is called out as unheard-of, and Leonard seems genuinely shocked by it.
Three: The only people who can possibly shed any more light on any of this are the Symphonica themselves. And as we knew from episode one, their HQ is in New York. The full route that Takt, Anna, and Destiny plan to take is detailed for us here, starting by going “down” to Las Vegas, along the American South, through the Appalachian Mountains, and up the East Coast to New York. Leonard and Titan offer to tag along part of the way, yet they were nowhere to be seen during episode one. Hmm.
Boy, Titan sure is cute. It would really be an emotional jab to the gut if she and her Maestro died horribly or turned out to be evil or something.
And that’s essentially our episode. There’s another (great) fight scene to close things out, in which Destiny literally blasts Takt’s house away in an almost hilariously on-the-nose symbol of his abandonment of his old life. But hey, the show is at its best when it’s not being subtle. More metaphors like that, I say!
The closing moments of the episode feature our main trio piled into Anna’s car, where Takt and Destiny lightly bicker. For the first time since its premiere, takt op feels like it’s found its “normal” again in this final scene, and the character dynamic that immediately endeared me to the series clicks back into place perfectly. Will it hold up for the rest of the series? That’s impossible to know. But I do know one thing, assuming next episode picks up right after this one. Anime fans? We have a trip to take.
Until then.
Wanna talk to other Magic Planet Anime readers? Consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directoryto browse by category.
All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.
The Frontline Report is a weekly column where I summarize my journey through anime, manga, and the related spheres of popular culture over the past week. Expect spoilers for covered material.
It’s been a bit of a week here at Magic Planet anime! Between WordPress scares (that thankfully turned out to be false alarms) and the sheer amount of good anime coming out, there’s a lot to keep track of, which is why this column is a day late this week. Luckily, I’m still here to offer guidance in this time of multimedia overload. Aren’t I so generous?
Side note: on a non-anime note I’ve been both watching and reading an absolute astro-ton of Transformers stuff recently. Most of it is outside the purview of this blog (not that that’s stopped me before, as we’ll see at the bottom of this article), but maybe I can eventually find something to cover here. No promises, mind you.
Anyway, let’s get in to the weekly grind. I’m once again trying a slightly different layout for these columns. Let me know what you think.
Seasonals
The Heike Story
Where does Biwa herself fit into the saga of the Heike? This week’s episode sees Shigemori’s incompetent brother succeed him, and the natural follows. Meanwhile, his father’s ambitions continue to grow out of control. This episode isn’t the first time a battle has been waged in The Heike Story, and it certainly won’t be the last, but it is perhaps the most real it’s felt. In general, The Heike Story excels at putting a human face to the churning horrors of war and political machinations.
And yet apart from it all–yet inescapably entwined at the same time–is Biwa. Here she sees the emperor’s wife talk herself into forgiveness. How long can that last?
Platinum End
Of every genre that exists, taking that of the death game as the foundation for a cosmology is up there as far as being horrifying. Yet that’s exactly the note Platinum End‘s second episode opens on. It’s all mysticism and nature-of-man hand-wringing. It’s a little tiresome, honestly, but at least it looks cool.
Here’s a better question: is Mirai actually a decent character? He’s not super exciting, but he’s got a decent amount of moral fiber and it’s commendable that he feels compelled to stand up to the two bullies we’re introduced here. So he’s at the very least, easy to root for. The episode’s main plot begins by introducing an obnoxious comedian who only uses his Red Arrows to make women fall for him. Of course, Mirai never even gets to actually meet that comedian. Our Kamen Rider-lookin’ friend from last week shows up and shoots him with a White Arrow. Between the legs. Because that’s the kind of subtle visual metaphor you can expect from Platinum End.
Let’s talk about that guy in the mask, actually.
Said masked hero is Metropoliman, who styles himself after the main character of an in-universe toku show of the same name. “Guy who thinks he’s a superhero but is actually just an authoritarian zealot” is kind of an old character archetype in death game anime at this point, but going this hard on it is fairly rare in my experience. Metro has a suit, calls his attacks, and is clearly both very dangerous and kinda nuts. He is, in other words, an excellently camp villain. If the show knows what it’s doing, it’ll keep him around for a while. The final moments of the episode reveal that he and Mirai attend the same high school, so the seeds of an interesting conflict are there. Wouldn’t it be fascinating if Platinum End actually turned out to be good? Who knows what the future holds.
Side note: did you know the Death Note guys made the manga this is an adaption of?
Rumble Garanndoll
Somewhat foolishly, I’m still always a little caught offguard when a show as campy as Rumble Garanndoll deigns to have a fairly complex plot. (Don’t ask me why, my first seasonal anime was Kill la Kill, which was very much campy and got fairly complicated in its second cour.) There’s a lot one could comment on here, from the scenery that makes up the resistance base in Akihabara (which includes a mummified Statue of Liberty half-buried in the ground. It fires lasers from its torch to repel intruders, naturally.) to someone on the translation team having a laugh by making sure a line with the word “culture” in it lined up exactly with the camera cutting to a gratuitous butt closeup. The actual core of the episode though is on Hosomichi and Rin themselves, and that’s where most of the interesting material here lies.
As a host, Hosomichi must essentially suppress his real personality to make money, and that’s actually touched upon here when his sleazy boss forces him to try to get on well with Rin so he can make a paycheck from the rebels. (And, consequently, pay back the debt he owes.) This is contrasted by Rin whose commitment to the cause is entirely sincere, driven by a desire to reunite with her lost family. (And, naturally, find the Sea Emperor Zaburn masters so she can rewatch the series. This is still a bit of a silly anime, after all.) The difference between someone who’s been rendered spiritually hollow by the toll that capitalistic demands force upon his life and someone who is still very much holding the flame of passion in her heart is stark. Is it enough to rescue Rumble Garanndoll from its occasional but notable missteps? That’s a difficult question, and one I’m not sure we’ll get an answer to anytime soon.
Elsewhere on MPA
Seasonal First Impressions: Komi Can’t Communicate – This is just one of those things that I didn’t expect to like, and then it turned out that the first episode was really good. That happens sometimes, and it’s always a treat. I’m not sure what I’ll think of Komi six weeks from now, but for now the short version is that I can heartily recommend the series on visual merits alone. It’s just a lot of fun to watch.
Let’s Watch takt op.Destiny: Episode 2 – I said last week I’d cover this weekly and by gum I intend to keep my word. The second episode didn’t blow me away like the first did, but it’s still very good and I’m quite interested to see where the series goes from here.
As a small side note: you may be wondering what happened to coverage of Ancient Girl’s Frame, since I mentioned that last week. The unfortunate truth is that Funimation’s subtitles are so bad that they’re essentially incomprehensible. And while what I saw of the show didn’t knock my socks off visually, it’s really quite hard to fairly judge a series if you literally don’t know what’s happening in it. So with all due apologies to anyone who was looking forward to that, I won’t be covering Ancient Girl’s Frame.
Do you know what I do plan to cover, at least a little bit, though, now that it has a release date after literal years of being mostly a mass of rumors and hearsay?
As a final, final note. Watch this music video, it’s extremely cool.
Until next time, anime fans.
Wanna talk to other Magic Planet Anime readers? Consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directoryto browse by category.
All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.
Seasonal First Impressions is a column where I detail my thoughts, however brief or long, about a currently-airing anime’s first episode or so.
“Do you have a dream, Komi?” “My dream is to make 100 friends….please don’t laugh.” “Then I’ll be your first friend, and help you make the rest.”
I didn’t actually intend to write more of these for this season, but sometimes things have a way of surprising you.
Komi Can’t Communicate was not something I intended to pick up. I didn’t even really intend to watch the premiere. To tell you the gods’ honest truth, I don’t really like the original manga all that much. I know! It’s widely-liked, by enough people that it’s the sort of thing where I’ve just accepted that I’m firmly in the minority. I followed it for a few months when it was relatively new, and it just never inspired any strong feelings in me. I had some things I kinda liked about it, some things I kinda didn’t like, but on the whole it didn’t move me. I didn’t get the hype. But I started hearing things about the anime; positive things. Things that were so positive that I felt like I just wouldn’t be doing my job if I felt like I didn’t at least look into it. And good lord, what a difference a change of medium can make.
On paper, Komi Can’t Communicate shouldn’t really work as an anime. This is a series whose primary character dynamic hinges almost entirely on talking. No, not talking; non-verbal communication. It’s a bit of a challenge to make that visually interesting. And indeed, while the manga itself certainly has nice art, I wouldn’t say it’s terribly visually dynamic. That can be a real problem in motion! So how did Komi‘s team overcome it? Well, in a way, the answer is very simple.
They turned in one of the best productions of the entire year.
Komi Can’t Communicate is gorgeous. (Enough so in motion that it’s actually rather hard to capture its appeal in still screenshots.) Its only real competition this season is takt op.Destiny, from which it is stylistically whole universes away. But while takt op is bone-cracking action and melodramatic camp, Komi Can’t Communicate zeroes in on the warmth of youth, even when it’s being funny. It’s a feeling I associate more with films like Words Bubble Up Like Soda Pop than I do TV anime. That’s not to say that Komi is particularly serious–it’s a fairly straightforward and lighthearted show–but it’s straightforward and lighthearted while looking utterly beautiful. This is the sort of thing that even those wholly uninterested in its plot can watch for visuals alone. There’re loads of clever little tricks in here; cut-ins, overlaid text, subtle art style shifts, etc. Some of these are inherited from the manga, but even those simply look way better here. This is a truly rare elevation of the source material, and I think even those who love the manga will agree with that.
This shot is from the OP, which is an instantly-iconic, sun-drenched piece of loveliness.
Its actual plot is so basic that it barely warrants summarizing. What do you want me to say? Boy meets girl! This is simple stuff. But Shouko Komi herself (our female lead) is an interesting character. As the title implies, she has what is colloquially known in Japan as a “communication disorder”. This to say: she cannot talk to people. Her case seems to be particularly bad. Over the course of the first episode, actress Aoi Koga (who recently made a name for herself as the title character in Kaguya-sama: Love is War!), doesn’t say a single actual word. Her vocal consists of flustered stuttering. That’s it.
But as the narration helpfully (and truthfully!) points out, people who have these kinds of difficulties do not crave human contact any less than anyone else. Komi still badly wants friends, but her anxiety is such an issue that she can’t bring herself to even say things as simple as morning greetings to anybody. Worse; all this, combined with her general appearance, has convinced most that she is an archetypal “cool beauty”, rather than a kind, gentle girl who deeply, simply wants to have friends and live a normal life.
That’s where our other lead comes in. Hitohito Tadano is an astoundingly average fellow, aside from his odd (but quite cute) habit of wearing a flower in his hair. The only “skill” of any kind that Tadano brings to the table is that it’s he who first recognizes Komi’s true nature. So, they get to talking. Or rather, to writing, as he comes up with the idea that using the classroom chalkboard while they happen to be alone between classes might be less anxiety-inducing than actually speaking aloud. By coincidence or by competence, he hits on the right idea, and the episode’s entire middle third is the two getting to know each other through a sprawling correspondence of chalk. This was cute in the manga. Here, it’s enrapturing, it pulls you in. For a few minutes, these two teenagers getting to know each other seems like the most important thing in the world.
Eventually, they come around to the exchange quoted at the top of this article. Things take a turn for the more comedic not long afterward, as the narration reminds us that the high school in which Komi Can’t Communicate is set is full of wild, wacky characters. (In the manga, I remember this kind of being a turn-off for me. I suppose we’ll see how it’s handled here.) So perhaps Tadano’s got more than he bargained for, but one gets the sense that he’d be okay with it if he knew. And that’s really the key thing; what makes a romance anime work is that we the audience have to believe that these two characters are interested in each other on a fairly deep level. Komi Can’t Communicate‘s first episode proves it with a startlingly clear, rosy, warm portrait of two young people who simply happened to be there for each other at the right time. For whom that simple serendipity will likely develop into much more. What else could you ask for? Komi and Tadano both get a little less lonely. The world gets a little brighter.
Grade: A+ The Takeaway: Komi Can’t Communicate stands as the season’s second truly essential anime. If you’re interested in romance anime as a genre or seasonal anime as a format, you should check this out.
Wanna talk to other Magic Planet Anime readers? Consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directoryto browse by category.
All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.
Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime, and provide thoughts and analysis on each episode. You should expect spoilers for both the current episode and all episodes before it.
Serious question; did people think that takt op.Destiny needed to like, explain itself?
Surely some people must have. That’s the only explanation I can really muster for the puzzling note on which the second episode, “Music -Reincarnation-” opens. We open not by picking up after last week’s riotous romp, but at some point before then. A sort of “how we got here.” takt op here runs through its world’s and protagonist’s backstories competently, but without much flash. We see that Takt lost his father. We see him struggle and, frankly, fail, to cope by holing up in his room for an unknowable amount of summers, pounding away at his piano but interacting with no one but Cosette and Anna. (The former of whom acts notably differently here than she does in the first episode, but we’ll get to that.) He gets snippy with them and balks at the suggestion that anything is wrong. Typical traumatized teenager stuff, mostly.
None of this is bad, but it’s a far cry from the knock-you-on-your-ass bombast of the opening episode. Certainly I don’t know how those who liked takt op.Destiny’s more lighthearted side are going to react. And while it’s certainly tolerable, it would be a pretty disappointing note for the show to continue on if it weren’t leading up to something. Thankfully, it is.
You see, it turns out that a traveling, Symphonica-sponsored music festival will be arriving in town. Surely, nothing bad could come of this.
For a while, nothing does. Grand Maestro Sagan (the one responsible for the “music ban” in the first place) makes a brief but notable appearance. Other than that, the festival sequence is fairly lighthearted and warm. Takt and Cosette even play piano together at one point. It’s cute.
Oh you cishets and your instruments.
Of course, this is not the sort of show where things stay copacetic for very long. Soon, a band of D2s are attracted to the festival and everything goes to hell. Cosette nearly dies, Takt loses an arm. If that doesn’t seem to immediately square with what we’ve known of the series so far, you’ll want to hold on to your monocles, because the final few minutes are where “Music -Reincarnation-” really earns its stripes. (And, yes, explains its title.)
We don’t get the specifics–and why would we need them?–but Takt unintentionally does some kind of music-magic that infuses Cosette with new life and seemingly transforms her into a Musicart. We end on a cliffhanger, but not before some truly stunning, wonderfully melodramatic dialogue and imagery.
The remainder of this past-set story to be resolved sometime next week, we must assume.
In general, it’s kind of an odd follow-up to the first episode. Mostly for how tonally different it is, and for the implication that the Cosette we got to know last week is not “really” her. (I suspect, even though it doesn’t come up explicitly here, that being infused with a Musicart somehow changes one’s personality. Recall that Cosette was almost android-y at times last week.) But if takt op.Destiny wants to trade in some of its visual oomph for melodrama, I think it turns out to be well-earned here. I just hope the series doesn’t forget why people tuned in in the first place.
Wanna talk to other Magic Planet Anime readers? Consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directoryto browse by category.
All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.
Seasonal First Impressions is a column where I detail my thoughts, however brief or long, about a currently-airing anime’s first episode or so.
A majority of this year’s real marquee anime have been pretty serious affairs. Analyses of the human psyche, explorations of shared generational trauma, things of that nature. Even the great final conclusion of the Neon Genesis Evangelion saga, Thrice Upon A Time, among the medium’s defining achievements this year, fits in here. And that’s all well and good! There is an important, well-earned place for that sort of thing in popular art. But if you’ve felt like something was missing–something simpler, something closer to the root of why people tend to like cartoons in the first place–Rumble Garanndoll may just be what you’re looking for.
This one fits in a curious tradition of self-aware otaku escapism shows. The first episode points toward commonalities with series such as Anime Gataris and the Akiba’s Trip anime or even The Rolling Girls. (Hell, Kill la Kill arguably fits in here.) Effectively, anime that serve as defenses of themselves and by extension the entire medium. You need to be careful with this kind of thing, because it’s easy for it to drift off into self-absorption. No one truly thinks that anime is the most important thing in the world, but the magic of good anime is that it can make us feel like it is, if only for half an hour or so at a time. This monumental task; essentially to both be entertaining and justify its own existence at the same time, is what stands before Rumble Garanndoll. Lesser anime have crumbled in the face of this challenge. But Rumble Garanndoll is willing to try anyway, as evidenced by the existence of its frankly hilarious “OTAKU ISN’T DEAD” tagline.
It’s too early to say definitively if Rumble Garanndoll pulls the whole thing off, but we’re off to a good start. Our lead is Hosomichi Kudo, ex-otaku and–this isn’t a joke–employee of a host bar. He takes his glasses off in order to avoid having to look his clients in the eye while he talks to them and has the opening theme of an in-universe anime (the fictional Sea Emperor Zaburn) as his ringtone. While he is clearly meant to be, to some point, You, Dear Otaku, he has more personality than the blander end of the Protagonist-kun spectrum. There’s a big gulf between that and being an actually great main character, but it’s progress. He may get there.
Chug!
As for our setting? Just the usual. A Japan that’s been divided in two by a fascist, art-hating oppressive state lead by a guy who can’t be older than 20 or so. He inherited the position, and the state is called the “True Country”. Just so you don’t have any illusions about who the bad guys are here.
Sure you are, bud.
The other half of that “two” is the Fantasy Country, which, although it’s not explicitly spelled out here, seems like a dystopic extension of modern Akihabara. (We do learn that specifically one thing is from Akiba, which we’ll get to.) The first episode opens with the True Country invading the Fantasy Country, via squat, diminutive mecha that might remind viewers of 2019’s similarly-titled Granbelm.
A lot happens during the invasion, but the main thing is that a lone rogue mecha dares to stand up to the invaders. Its name is Shark One. It’s a blue, adorable thing, and it’s kept active by an AI-droid-thing-it’s-not-totally-clear yet called a Battery Girl. The one who controls Shark One is named Rin, and she is just great, an instantly-likable little firecracker of a character who spends much of the episode as a moeblob and is willing to open up to Hosomichi because they both like Zaburn. (Being voiced by Ai Farouz helps a lot to sell the whole thing.)
Hosomichi, of course, soon finds himself in Shark One’s cockpit. There’s a lot of great back and forth here between him, Rin, and his former manager, who is tagging along for the ride. Occasionally punctuated via phone call or megaphone by the hilariously-named Commander Balzac, who seems to serve as the leader of the resistence that Rin and Shark One represent. That he kinda looks like an aging Kamina is probably not a coincidence.
This entire sequence, frankly, is charming as all hell. It also, impressively, manages to stay on the right side of self-aware, with Hosomichi and Rin’s mild embarrassment at having to scream “SHARK CAVALIER!” at the top of their lungs being the only real example. (Even that is more charming than anything.)
Crucially, it’s cut with this little bit of dialogue. The message is clear, and twofold. There is firstly the text itself, and then the subtler implication that Rumble Garandoll is not content with gesturing toward great anime. It wants to be a great anime. You don’t plant a thematic flag front and center in your first episode unless you’re very self-confident.
The aftermath of all this, of course, sees Hosomichi recruited into this (as of now, still nameless to us) resistance. The journey has just begun, for him and for us alike. We also meet Rin in her non-chibi physical form for the first time, rocking a Mega Man-inspired blue suit. She and Hosomichi have a brief squabble. Is a first episode ending on that note cliché or timeless? That, really is the question.
Art, at its absolute best, can inspire and connect us. Most anime don’t commit, full-tilt, to that aspiration. And most anime that do commit don’t succeed. (Pour one out for 2018 boondoggle Darling in the FranXX.) Will Rumble Garandoll get there? It’s really quite hard to say. But it’s possible, and for some, possibility alone will be enough. Certainly it is for me.
Grade: A- The Takeaway: For a certain kind of person–and you know who you are–this is a must-see. Most others should at least give the first episode a watch unless this kind of thing just strongly isn’t your cup of tea.
Wanna talk to other Magic Planet Anime readers? Consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directoryto browse by category.
All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.
The Frontline Report is a weekly column where I briefly summarize the past week of my personal journey through anime, manga, and the related spheres of pop culture. Expect some degree of spoilers for the covered shows.
A short and sweet report this week, friends. I’ve been busy out there!
The Heike Story
Shigemori passes unexpectedly and the fate of the Heike Clan is sealed, all while Biwa is powerless to do much but watch. Last week a red flower fell, this week a white one.
It’s easy to lay in to someone like Shigemori, an ultimately passive man complicit through inaction on the ruin that the Heike are about to cause. But it’s even easier to sympathize with him, there are more Shigemori in the world than many of us would like to admit. It’s hard not to see yourself in him, even if, speaking for at least myself, I think most of us would prefer a happier end than this.
The show’s actual narrative is a foregone conclusion–being based on an epic from the 14th century will do that–but The Heike Story‘s how’s and why’s remain incredibly compelling even in light of that.
Elsewhere on MPA
Hoo boy.
So, the good news about my recent series of First Impressions posts is that people seem to really like them, which is great! I’ll also be attempting to cover takt op.Destiny weekly going forward considering the overwhelming response about that series in particular.
I’m not going to link you to everything I’ve written in the past week because that would be, frankly, absurd. Instead I’m going to direct your attention to the Seasonal First Impressions archive, where you can see for yourself all of the posts I’ve written for the season so far. I’ve still got one more in the chamber, even, as I plan to write a post on Ancient Girl’s Frame tomorrow. (It technically premieres tonight but you’ll forgive me for not wanting to put up a post at 10PM local time.)
If you’ve known me for more than ten minutes you know I want to cover this. Image appears courtesy of Funimation’s Twitter account.
I’ve also redesigned the Directory, and speaking very generally, it should be much easier to browse the archives by post category now. Hopefully y’all will enjoy that. In any case, I hope you can all forgive the somewhat lean report this week. I’ve been very busy, as you can see!
I don’t normally bring this up in the body of my posts themselves, but if you’ve liked anything I’ve written over the past week, please consider donating. This blog is my only source of income, so it really does help a lot. Alternately, consider sharing it around if you can’t / don’t want to spend the money. Getting the word out is a huge help too. And of course your comments and thoughts are deeply appreciated as well.
Alright, I think that’s enough of me being sappy. Until next week, anime fans!
Wanna talk to other Magic Planet Anime readers? Consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directoryto browse by category.
All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text, excepting direct quotations, is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.
Seasonal First Impressions is a column where I detail my thoughts, however brief or long, about a currently-airing anime’s first episode or so.
You would have to be a very specific kind of person to prioritize watching Build Divide: Code Black over most of what’s airing this season.
The very first thing to know is this. Build Divide is based on a trading card game. The second thing to know is that said game appears to be paper-only. (I cursorily googled to try to find a digital client, official or otherwise, and had no luck.) The third thing to know is that this anime is produced by the famously spotty LIDEN FILMS, who seem to have picked up a weird habit of working on things with “Code Black” as a subtitle, following their excursion into Cells At Work: Code Black earlier this year.
So right off the top; you must ask yourself if you want to watch a decent but certainly not amazing-looking anime for a card game that you’re probably, just speaking statistically, never going to get to play. Oh, and it’s two cours. That’s a lot to ask upfront. There are a number of anime airing right now, both better and worse than this, that simply don’t demand you to care about quite this many things. To put it in video game critic journalist terms, I would not say that Build Divide: Code Black “respects your time.” Just from a practical point of view, no matter how good or bad the series up being, that is a pretty hefty disadvantage to have to overcome.
Normally I’d here segue into telling you what the show is actually is about, but the plot details we get here are hilariously sparse. Beating the local big kahuna at a card game lets you get a wish granted. Our female lead (Sakura Banka) has a wish she wants granted. Our male lead (Teruto Kurabe) doesn’t but is preternaturally good at TCGs. Also he has amnesia. There’s your plot beats, all of them, as laid out in the anime’s first 20-odd minutes. So we can safely toss this into the “ignore” pile, right?
Well, for many people, probably. The issue, at least for me, with writing Build Divide off is that while the first episode certainly didn’t wow me the way some have this season, it did leave an impression. Make no mistake; this is a very weird show, at least when measured against the general seasonal anime cycle.
With very few exceptions all the cards are represented by anime girls, by the way. If you were curious.
The obvious thing to try to do when your anime is based on a TCG is to have one character explain the basic rules concepts to another. If you don’t do that, you’re generally in subversive, dark-take-on-the-genre territory, and there aren’t a lot of anime that fit that bill. (I challenge anyone to name one that isn’t Wixoss.) So what do we make of what Build Divide does, where the rules are explained, but only very generally and briefly, to Teruto by Sakura? Halfway through their obligatory match in this episode, Teruto’s amnesia begins to crack and the entire thing turns into a long chain of complicated effect combos. Some of it is quite neat to look at, certainly, but there is no way that we, the audience, could possibly have any context for this.
Is that incompetence? Is it on purpose? If so, why? The odd writing applies to the entire episode, but is most obvious here, where the cliché plot beats of this sort of episode are reduced to almost impressionistic abstraction despite the workaday visual style. There’s a lot of cool imagery, including a recurring casino motif, and the episode is visually-speaking oddly moody in spots, taking place as it does entirely at night. There’s also the random aside where we learn that the cards of the game can somehow be used “outside of battle” to….cast spells, essentially? But none of this seems to really convey anything. It’s very hard to know if Build Divide knows what it’s doing.
And what do we make of Teruto himself? It’s not rare for this kind of thing to feature a protagonist who is, sometimes literally supernaturally, Just That Good at card games. Putting him in an admittedly stylish but still very peculiar bunny hoodie is a less common step, to say the least. Maybe this is how the Build Divide franchise plans to challenge Yu-Gi-Oh! By swapping gaudy hairstyles for weird hoodies. Oh, and he has a strange obsession with bread. Which includes at one point praying for a bear-shaped pastry that fell on the floor because it’s “dead.”
Maybe this is the season where writers finally learn that the way to make your stock brown-haired lead interesting is to just make him a total weirdo.
If it sounds like I just have no idea what to make of this series so far, it’s because I don’t. Build Divide: Code Black just doesn’t give us enough to go on. It’s a question mark both within its genre–a genre that itself is generally more associated with children’s anime, which this solidly isn’t–and within the broader season at large. It’s certainly interesting, but whether or not it will live up to its potential is a question that it is far too early to answer.
Grade: 6♦ The Takeaway: Look, on this one specifically you probably shouldn’t listen to me. I don’t even know if I’m going to watch more of it or not.
Wanna talk to other Magic Planet Anime readers? Consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directoryto browse by category.
All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.
Seasonal First Impressions is a column where I detail my thoughts, however brief or long, about a currently-airing anime’s first episode or so.
Let’s get one thing clear straight away; suicide is not a funny topic. It’s a very serious mental health crisis that has been, and continues to be, a defining issue for the modern age. But that doesn’t mean that all fiction that deals with suicide necessarily treats it with due gravitas. Sometimes, the result is, if only in a deeply uncomfortable sort of way, unintentionally funny. Sometimes the result is Platinum End.
Toss any notions of a piece of art “earning it” or not out the window. Platinum End resoundingly does not. What we have here is a naked power / revenge fantasy about a suicidal, depressed teenager (that’d be Mirai, our lead) that goes in some truly weird directions in the meager 22 minutes of its opening episode. The very first thing that actually happens in the anime is that he tosses himself off a skyscraper. In a more serious story this would feel bad to watch. But Platinum End‘s opening minutes are so po-facedly stoic that they’re difficult to take seriously.
But those few minutes are not what we’re here to talk about. Because then, as Mirai falls, he is rescued by an angel, and everything goes topsy-turvy. Over the course of some amount of minutes, this angel, Nasse, quickly explains that she’s rescued Mirai in order to save him from depression by way of giving him superpowers; the ability to mind-control people and angel wings that let him fly super-quickly, respectively. Somewhere in here is an out of place but genuinely touching sequence where Mirai learns to fly. It is quickly brushed away by other things.
For example; Nasse is kind of incredibly evil.
Nonbinary people are presumably safe from its effects.
If Nasse were not part of this show, it would be unwatchable. If Mirai did everything he does in this episode–and trust me, we’ll get to that–of his own accord, he’d be an utterly wretched protagonist. But Nasse, an incarnation of a truly basic joke (“she looks all cute and such, but she’s actually horrible!”), makes Platinum End tick. At least on some level. Almost from the moment she and Mirai meet, she’s all bad suggestions all the time, like a reverse guilty conscience. She’s the devil on your shoulder disguised as an angel; and surprise, you don’t have an actual angel. She is, in the purest sense of the word, incredible.
Were the show solely Nasse encouraging Mirai to do awful things, it might be legitimately great. It’s unfortunately forced to settle for merely funny-bad because of what those awful things actually are, and because of Mirai’s motive for going along with them.
You see, Mirai’s backstory is that when he was seven years old, his entire family died because someone planted a bomb in their car. He was taken in by his aunt and uncle, who proceeded to abuse him all the time….And that’s basically all we get. This isn’t to say that there aren’t real people in situations this bad, because there certainly are, but it all feels so perfunctory that it’s hard to get any emotion out of it. Panic laughter, perhaps, but that’s all.
My life was Angel Beats! levels of sad so now I’m moping on a Mayan temple.
Nasse ends up informing Mirai that the bomb in said car was planted by his adoptive family. Understandably both suspicious and furious, he confronts his aunt, who he uses his “red arrow” of mind-control powers on. Things get out of hand; she tries to seduce him (ew), and when his uncle barges into the room, Mirai screams that the both of them should just die. Since his aunt is under his mind control spell, she promptly stabs herself in the neck and bleeds everywhere. It’s astoundingly tasteless and, in more than one sense, pretty gross!
The thing is, the episode more or less just ends there, but not without dropping one more twist. There’s a cut to a few days afterward where Mirai is hiding out in a hotel. And here is where we learn–in a setup shamelessly nicked from The Future Diary and, honestly, probably many other stories too–that twelve other people in Mirai’s situation have been chosen as “God candidates.” One of them will eventually replace God. Who is quite strongly implied to be The Christian God, based on what we see of him. Now we don’t get the rules for this particular contest just yet, but it doesn’t take a genius to figure out that this is a death game setup, especially as Nasse cheerfully informs Mirai that he has “the White Arrow”, too. Essentially a beam of light that lets him kill anyone instantly.
Pshaw! Who’s ever heard of such a thing?
The very last thing we see is one of the other candidates, dressed up in an off-brand Kamen Rider outfit, scream that he’s a hero of justice while he impales a different candidate with his own white arrow. Perhaps this fellow (who has a full rainbow of the power-containing colored bands that Mirai has only three of) is our main antagonist. It’s too early to say for sure.
And with all of that finally out of the way, Platinum End‘s first episode, well, ends.
I don’t find myself at a genuine loss for words very often. What the hell do you say about this kind of thing? It certainly isn’t good, not in any traditional sense. And while the first episode is far better than, say, the 3D CG ten-car pileup of Tesla Note‘s, it really doesn’t mark this down as a must-watch.
But, I know myself, and I know the modern seasonal anime landscape. This is one of Those anime. Your Detectives, your High-Rise Invasions, your Gleipnirs and such. And here I go, marching right into Hell’s mouth yet again. I really, truly, do not know what’s good for me. Expect Platinum End to return on this blog, even though it probably doesn’t deserve to.
What a world!
Grade: D The Takeaway: Unless you’re as fascinated with true schlock as I am, you should probably not watch this. But if you are, this is conversely almost a must-watch. Keep possible triggers in mind though, even this first episode has quite a bit of astoundingly insensitive material on self-harm, suicide, spousal and familial abuse, and depression. I understand the impulse to watch garbage better than most; but do so responsibly, friends!
Wanna talk to other Magic Planet Anime readers? Consider joining my Discord server! Also consider following me on Twitter and supporting me on Ko-Fi or Patreon. If you want to read more of my work, consider heading over to the Directoryto browse by category.
All views expressed on Magic Planet Anime are solely my own opinions and conclusions and should not be taken to reflect the opinions of any other persons, groups, or organizations. All text is owned by Magic Planet Anime. Do not duplicate without permission. All images are owned by their original copyright holders.
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