Tag: anime review

Posted on in anime, Let's Watch

Let’s Watch UMAMUSUME: CINDERELLA GRAY – Episode 22 – “Gray Phantom”

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime.

For the Cinderella Gray column, new installments will be posted either on the Sunday each episode airs, or as soon as possible over the succeeding week. Expect spoilers!

Cinderella Gray can be watched, legally and for free, on It’s Anime By REMOW on Youtube. A link is provided below for your convenience.

Native Dancer was an American thoroughbred racehorse. Without getting so into the nitty-gritty that this turns into a column on actual horseracing, the very short version is that he was one of the best. It’s hard to beat 21 victories in a 22-race career (although some have done so). To list just one accolade, the AP’s list of the best racehorses of the 20th century places him at third, behind only Man O’ War and Secretariat. For our purposes, though, his actual career is less important than two other things you need to keep in mind about Dancer. The first is that he had a nickname, the Gray Ghost. The second is that one of his children was Dancing Cap, a horse who, himself, we are primarily interested in here because of one of his children. You’re reading a column about him right now: Oguri Cap.

There is little reason to suspect that any version of Native Dancer ever existed in Umamusume. In general, lineage plays far less of a role in Umamusume than it does in actual horse racing, and the closest Umamusume has ever come to acknowledging any of the legendary racers who fill in the strange, fuzzy area outside of its immediate characters of focus is the vague insinuation that Manhattan Cafe’s mysterious “friend” might be the metaphorical or literal ghost of Sunday Silence. (As always, I recommend IronicLark’s blog if you want Umamusume analysis from someone who really knows their horseracing as opposed to someone with a mere passing interest in it like myself.) Nonetheless, watching this episode today, I thought about Native Dancer and his nickname. I have absolutely no way of proving this, but I think one of the most important aspects of this episode, and indeed the episode itself, takes its name from that epithet. In doing so, Cinderella Gray asks broader questions about what Umamusume actually is. Not as a franchise but as a story.

First, though, let’s pick up where we left off last week. The back half of the Arima Kinen is, to put it as simply as possible, nuts. After entering her Zone and blitzing past most of the playing field, Tamamo Cross duels it out with Oguri Cap for first place in the final leg. I repeat myself, but it’s worth repeating, it’s not merely that there are impressive action scenes here—though there definitely are—it’s that the raw emotion on display here is a very rare thing.

In literal terms, what happens here is the race’s four strongest competitors angling for the lead. Super Creek puts up a surprisingly strong performance, banking on pure stamina as opposed to anything flashier. Dicta Striker’s shotgun final spurt is a spectacle to behold as well, earning her probably the single most impressive cut of animation in the entire episode and deservedly putting her name in the conversation with the other greats here. Between the fierce showdown between rivals and the fireworks animation, I fall back on my old standby comparison: this is essentially a battle shonen anime, and the earlier half of this episode comes complete with plenty of “oh my god, the ultimate technique!”-style commentary from characters like Symboli Rudolf and Sensuke Fujii. This stuff is fantastic on even its worst day, and if that were all the episode was, it would still be great.

But, let’s be serious here. One of two umamusume are going to win this race. It’s either going to be Tamamo Cross or Oguri Cap. One of Cinderella Gray‘s favorite storytelling techniques is to dot an important race episode with little dollops of backstory or reflection from the runners. Previously, this has been used to characterize Oguri’s rivals. In the penultimate episode of the first cour, Tamamo Cross got that treatment, where the show strongly suggested that despite a thwarted crossing of the paths when they were both children, Tama and Oguri were, in some sense, always meant to run together. This episode reinforces that connection, but also reminds us of something else.

We see flashbacks to Oguri Cap’s childhood, a tiny gray puffball of a kidlin enraptured with the lightning-fast running she sees on TV. Her own legs, though, are weak, and her mother1 bandages them as she tries to stand and move around. The young Oguri asks her mother if she’ll ever run like the girls on TV, and her mother hugs her tight.

Of course she will.

And as Oguri’s mind turns to her gratitude toward her mother, it flows to everyone who’s helped get her where she is. The Kasamatsu gang, Fujimasa March, Belno, Jo, Musaka, every one of her rivals, all of whom have asked her, why do you run? Who are you aiming for?

And the answer, of course, is that Oguri isn’t trying to surpass anyone but herself. To whom running at all is a miracle, something fought for rather than given. She’s doing it because she loves it.

As soon as she realizes this, it all clicks into place, and we get to the episode’s namesake. The payoff, the gleefully cool-as-hell ultimate technique, Oguri Cap’s very own Zone.

A ghost, one might say.

Oguri and Tama continue running the final stretch neck to neck. But we actually see only relatively little of the literal events of the race from here on out. Instead, we’re transported to an emotion-driven image space, where the two talk. They reminisce, Tamamo Cross speaks of races come and gone and races that will never come, wistfully talking about how she owes Obey Your Master a beating at the next Japan Cup. But, she knows this won’t ever happen. Together, still in the shared mind space, Oguri and Tama begin running again. Tamamo Cross complains about how short the race is, even here, the finish line is in sight.

Nothing, not in sports, not in life, lasts forever. Every story has an end. There are no perpetual dawns, and any time the Sun rotates around our humble planet, it’s one day closer to going out forever. Here, in what they both know is their last dance together, Tamamo Cross and Oguri Cap bond for one final time over what keeps them going in spite of that, their love of life. Running more specifically, sure, but it is worth seriously understanding that finity and transience are two of Cinderella Gray‘s main thematic ideas.2 This, which is also what I was alluding to at the top of this column, is the first time we see those themes really underscored in a major way. It will not be the last.

Tamamo Cross’s story ends in defeat. Oguri Cap, reborn within the Gray Phantom, manages to edge over the finish line by just the slightest bit. This is not a sad ending, the victory and defeat are less important, perhaps, than who they are experienced alongside.

After the race, they have a talk that is heart-achingly sweet, and they embrace each other. To paraphrase the great Miko Iino, I am someone who enjoys hugs probably 50-70% more than the average person, this one here is one of the best anime hugs ever. I’m honestly jealous. Put it on the accolade board.

The end of the Arima Kinen is not a happy story for everybody. Dicta Striker gets properly fired up when she notices Oguri entering her Zone, but, the combined blood loss from her injury last episode and perhaps just general fatigue mean her body betrays her, and her legs give out as she attempts another shotgun surge. She still takes third, with Super Creek behind her taking fourth. Or at least, she would have taken fourth were she not ruled to be obstructing another racer’s movements after the fact, disqualifying her. It’s sneaky as hell to slip in the start of Creek’s upcoming arc here. But the nature of how Umamusume is written means it’s also a necessity, and it’s handled pretty well, juxtaposing as it does Creek’s embarrassment and loss with the overwhelming warmth of the rest of the episode’s final third.

(There are some other, smaller good bits as well, such as Symboli Rudolf heaping praise on Oguri, a really nice followup from that conversation she and Maruzensky had back in the first cour.)

That warmth truly is the dominant feeling. In what is by now a relative rarity for the series, we get an actual winning concert performance in place of the episode’s usual credits. Oguri Cap, Tamamo Cross, and Dicta Striker—patched up after her injuries, including breaking a tooth! which is perhaps why the concert seems to take place that night instead of immediately after the race—perform “Next Frontier”, one of Umamusume‘s standards, and a swelling, triumphant note to close out the episode.

Except there’s actually one more thing. After the concert, Oguri Cap takes the time to thank everyone who’s inspired her, who made her the racer she is today. She thanks her trainers, her rivals, and the crowd. That includes us.

Overall, “Gray Phantom” probably surpasses “Wild Joker” as Cinderella Gray’s best episode, and it’s one of the best in Umamusume on the whole. It also got me thinking, though, about the series’ overall nature. For a while now, I’ve been workshopping an as-yet unpublished article about a different piece of the Umamusume franchise. In that article, as I am about to here, I propose that despite its ostensibly “silly” or “very anime” premise, Umamusume is actually part of a very long lineage of work that seeks to anthropomorphize the minds and lives of non-human animals. I don’t have an answer as to whether that instinct is selfish, a bad habit of seeing all things as reflections of ourselves, or selfless, a genuine desire to connect with minds very different from our own.

Regardless of which side you fall on, it is fascinating to me that Oguri Cap, in some form or another, continues to inspire people 33 years after the end of his career and 15 after his death. (To float another conspiracy theory, I have wondered if the real Oguri’s epithet of “The Idol Horse” is how the premise of Umamusume was come up with in the first place.) If I can show my hand a little, I do think there’s something beautiful about the ideas that Cinderella Gray puts forward here, even the sad ones. Ultimately, though, these questions are a bit beyond the scope of this column, and I’ll save any harder arguments for another day. Tamamo Cross’s story is over, and while Oguri Cap’s will not last forever either, we still have a good, long time with her, assuming the anime gets renewed for another proper season (here’s hoping).

This isn’t the end of this season just yet, however. See you next week, umadacchi.

Now where have I heard that before?

1: It’s interesting that what little we know about Oguri Cap’s mother in Cinderella Gray doesn’t really fit the profile of either of the real Oguri Cap’s parents. Nonetheless, I usually refer to her as Narubi in my notes on the rare occasion she shows up, since it’s shorter than writing “Oguri Cap’s mom” every time.

2: There is a reason that, despite being “just” the last time we will see these two specific characters compete, this whole scene feels an awful lot like a depiction of some kind of afterlife. Tamamo Cross thus joins the storied ranks of sports anime characters who are being treated vaguely as though they’ve died when they’ve actually just retired or graduated or what have you. Sempai will be furthering her education, no doubt.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Anilist, BlueSky, or Tumblr and supporting me on Ko-Fi. If you want to read more of my work, consider heading over to the Directory to 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 manually typed and edited, and no machine learning or other automatic tools are used in the creation of Magic Planet Anime articles, with the exception of a basic spellchecker. However, some articles may have additional tags placed by WordPress. 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.

Posted on in anime, Let's Watch

Let’s Watch UMAMUSUME: CINDERELLA GRAY – Episode 16 – “The World’s Best”

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime.

For the Cinderella Gray column, new installments will be posted either on the Sunday each episode airs, or as soon as possible over the succeeding week. Expect spoilers!

Cinderella Gray can be watched, legally and for free, on It’s Anime By REMOW on Youtube. A link is provided below for your convenience. The descriptive blurbs for these articles are taken from those of REMOW’s Youtube uploads.

Hello, umadacchi. Your beloved blogger is a bit under the weather this week, but luckily, this particular episode of Cinderella Gray is mostly one of laying groundwork and doing some character introductions. As such, it’s pretty simple to cover.

Plainly, this episode serves to introduce (or reintroduce, in a few cases) Oguri Cap’s competition at the upcoming Japan Cup. The episode is actually structured as such that it largely introduces Oguri’s foreign rivals first—which makes sense, there’s more to cover there—but we’re going to flip that around and talk about her domestic competition to start with. There are just fewer umamusume in this category, and one of them, Tamamo Cross, is essentially the show’s defending champion. Tamtam gets a nice little practice vignette with her trainer, who warns her against pushing herself. A gentle reassurance from someone who cares, or foreshadowing of something greater? We can’t yet say, but it’s good to see Tamamo around, and it also gives us the delightful treat of seeing her with her head ornamentation removed. Cute!

Oguri’s other main competitor from Japan is Gold City, who actually practices with her at Musaka’s behest as they try to build Oguri’s stamina, given that the Japan Cup, at 2400 meters, is longer than any race Oguri’s yet run.

Oguri and Gold City, in a nice change of pace from some of Oguri’s more serious rivalries, hit it off pretty much immediately, and the episode’s penultimate scene is a funny exchange between the two of them wherein Oguri asks Gold how she keeps her hair so nice, leading to a whole bit about shampoo.

Perhaps unsurprisingly, the international competition is given a bit more focus. Umamusume doesn’t get the chance to feature horsegirls from anywhere but Japan terribly often, so when they do, they tend to go all out. It is also worth noting that this is another case where the umamusume aren’t named directly after the real racehorses—rights issues, one imagines—and it’s fun to compare whose legally-distinct name is an upgrade and try to imagine how they might have gotten from one name to another.

Easily the most prominent of the umamusume featured here is Toni Bianca [Kaida Yuuko, based on the real horse Tony Bin], presented as a genuine menace. Enough so to merit an at least passing comparison to Symboli Rudolf (herself the last Japanese horsegirl to win the Japan Cup). She has an impressive record, too, most notably, she’s the most recent Prix de l’Arc de Triomphe champion.

Of the girls introduced here, Bianca is perhaps the most classically in the ‘arrogant rival’ mold. When our good friend the reporter Fuuji, a recurring presence throughout this episode, asks her what she intends to accomplish by running in the Japan Cup, Toni replies nothing. She intends to win, and she will win, and that’s that. Fuuji is impressed by this of course, but there’s the subtle implication of something more complex going on when later, on her own, she contemplates that the upcoming race will be her magnum opus. What that could mean, we don’t yet know, but it’s enough to raise some intrigue about a character who is otherwise a bit broad.

Even more so is the UK’s representative, Moonlight Lunacy [Sekine Akira, based on Moon Madness. I’m honestly not sure how they got away with that one].

She has a refined and elegant design, and some banter with Fuuji reveals that the two have at least some prior history together—she apparently competed in the last Japan Cup, only to come in fifth—and she kicks him for being tactless when he brings up her previous defeat in the race. Still, I’d say she’s firmly the least interesting of the umamusume introduced here.

Contrast, for example, Ellerslie Pride [Tomita Miyu, based on Bonecrusher, easily the biggest name downgrade here], the sole Japan Cup runner from the southern hemisphere and representing the hope of not just her home country New Zealand, but that entire half of the globe in general.

Her somewhat tough appearance (and the straight-up intimidating name of her inspiration) belie a horsegirl who is clearly a little desperate to put her country on the map. She actually visits a shrine as her first order of business in Japan, apparently praying for her own success. (Fuuji bothers her, too, and gets a giant shrine bell dropped on his head for the trouble.)

And of course, there are the Americans. Michelle My Baby [Takagaki Ayahi, based on My Big Boy] is incredibly tall compared to almost every other character we’ve seen in the series so far. We don’t learn terribly much about her—although on a fact-finding mission for Musaka, Belno Light describes her as having the strength of a bulldozer—but when you’re introduced by slam dunking a basketball from across the court, maybe you don’t need much in the way of complicated character motivation.

Which leaves us with one last character to meet. The other American umamusume is an apparently utterly unremarkable racer, no G1 wins, no record of really any note at all, and she’s also rather hard to get ahold of. Fuuji tries to find her but doesn’t succeed. Belno does, though, although one gets the sense it might be because she wanted to be found.

This is how we meet Obey Your Master

[Ishigami Shizuka, based on Pay The Butler].

When Belno finds her, Obey is literally face down, ass in the air, sniffing the grass. Why is she doing this? Who knows! Belno asks her, and her response is that it “smells amazing.” So at first, one might reasonably conclude that Obey is just weird. Weird girls are not new territory for Umamusume—see Gold Ship, a generational cryptid sort of girl, as just one example—but Belno, and indeed Oguri Cap, are not so lucky. Obey seems to immediately cotton on to what Belno is doing (and jokingly calls her “James Bond”). In fact, Obey knows all about Oguri Cap, starting from her career as a regional star in Kasamatsu up to the Fall Tenno Sho where she lost to Tamamo Cross. But actually, Obey even knows who Belno is, and it is with some sense of alarm that Belno Light processes that the last girl she’s been sent to find is not normal.

We can just say it. Obey is a freak. I fucking love her, she is one of my favorite charcters from Cinderella Gray in general, but she is an odd, odd character. The combination of everything we see here; her wild eccentricity, the star-shaped pupils, her encyclopedic knowledge of the competition, and of course the episode’s instantly-infamous final scene where she dances alone in the dark, Oguri Cap and Tamamo Cross’ race playing on her television and her rivals’ photos plastered all over her walls, brings to mind nothing less specific than Kurokawa Akane from Oshi no Ko. In fact, despite some obvious differences, she comes off as an outright interpolation of the character into a radically different context. I can’t prove that the inspiration actually worked that way—if it did, mangaka Kuzumi Taiyou would have to have been pretty quick on the draw, as Cinderella Gray and OnK started serializing around the same time—so if that reference point seems improbable to you, we can also just say that Obey comes off as a bit serial killer-y in, especially, that final sequence. This is, of course, fantastic, and it implicitly suggests that the true showdown in the Japan Cup will not be between Oguri Cap, Tamamo Cross, and—as one could be fooled into thinking from the start of this episode—Toni Bianca, but between those two and Obey.

Obey explicitly identifies Tamamo Cross and Oguri Cap as her “enemies” for the Japan Cup. And they both, it seems, will have to be careful to not be her next victim.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Anilist, BlueSky, or Tumblr and supporting me on Ko-Fi. If you want to read more of my work, consider heading over to the Directory to 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 manually typed and edited, and no machine learning or other automatic tools are used in the creation of Magic Planet Anime articles, with the exception of a basic spellchecker. However, some articles may have additional tags placed by WordPress. 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.

Posted on in anime, Seasonal Impression Roundups

Seasonal First Impressions: Deep Space Wolves at The Door in GNOSIA

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.

Everyone who knows anything about GNOSIA has made essentially the same joke about it. Finally, an Among Us anime! It’s the kind of essentially-obligatory reference that can quickly get old, but, honestly, in the case of GNOSIA it’s not really a bad place to start in terms of describing the thing. And the series itself directly invokes Among Us‘ public-domain, lycanthropic predecessor werewolf.

GNOSIA is set aboard a space ship en route from one planet to another. On the planet they departed from, they were attacked by something called a gnosia, and now the gnosia is one of the people on board. What’s a gnosia? How does it spread from one person to another? We don’t really know that, yet! Things are kept in deliberately broad terms in this first episode. From what little we do know, it seems like some kind of virus that….turns people into? Replaces them with? Alien shapeshifters. Again! It’s all a bit vague.

But that’s part of the point, as it turns out. Because our viewpoint character is Yuri [Anzai Chika], an amnesiac freshly woken from suspended animation by Setsu [Hasegawa Ikumi], a non-binary soldier who seems to be the unofficial semi-leader of the proceedings. Setsu explains the entire wolf-among-us situation to Yuri, and Yuri’s drafted into the process of voting on which of the crew will be placed back into suspended animation. There are a few key points to absorb here, and the bulk of the episode is devoted to fleshing these out.

Here’s what we—along with Yuri—learn over the course of the first episode. One, this voting-out-the-impostor situation is mandatory, because the ship’s controlling AI, LeVi, will enable the self-destruct sequence if the passengers don’t attempt to get rid of the gnosia themselves. Two, the ship periodically jumps into hyperspace. Humans can’t stay awake during these jumps, but the gnosia can, giving them an opportunity to attack. Three, the fact that one person is placed back into cold sleep “per round” means that if the gnosia isn’t caught by a certain point, it will be down to just one human and the gnosia, at which point the human “loses.”

If all of this sounds very video game-y, that’s because GNOSIA is a relatively rare anime that’s actually adapted from a video game, in this case originally a Vita title that’s been ported several times over the years. (Hilariously, dating from 2019, it actually predates Among Us‘ explosion in popularity.) Usually, when an anime is said to feel “gamey” that’s a bad thing. But, for the second time this season, I’m going to suggest that something that’s usually a negative is not necessarily one. The gaminess lets us, the viewers, feel involved as Yuri learns about the setting and the cast of characters.

Speaking of, in addition to Yuri and Setsu themselves, the first episode also introduces a quiet, reserved woman named Jina [Seto Asami], a blunt enby who’s so straightforward that it’s to their own detriment who goes by Racio [Nanami Hiroki], and a flirtatious, charming, deeply suspicious, and radioactively hot woman with the somewhat cryptic moniker of SQ [Kitou Akari].

I have my favorites already, but in general this is a really strong group of characters, enough so that I didn’t want any of them to be the gnosia. (Another way my own point of view sympathized with Yuri. As they, naïve to the world, want to trust everyone here equally.) Of course, after two rounds of voting, we learn that, nonetheless, one of them is.

The second round ends with Yuri and SQ, who’s managed to sway Yuri to her side of things, locking Setsu in cold storage, after having lost Racio to the previous round and Jina to a gnosia attack during a hyperjump. This turns out to be the wrong decision, as SQ—the one who’s been acting very suspicious the entire episode—is, in fact, the gnosia. The good news for Yuri is that now that they’re equipped with knowledge of how the gnosia operates, they can do a better job next time around. But, ah, SQ attacks and kills them, right, since she’s the gnosia? So how could there be a “next time” for Yuri?

Well, before entering cryosleep, Setsu hands Yuri a mysterious cube which promptly breaks when Yuri tries handling it. This, they explain, will let them go beyond death.

Yes, on top of its main premise, GNOSIA is also a time loop anime. This takes things from merely interesting to absolutely fascinating. Introducing as it does two interlocking rings of mystery that must somehow be related, each of which raises more questions about the other than it answers. There’s a lot to like here, and with the anime slated for a full two cours there’s a lot of time for it to bend and twist our expectations in myriad ways. All this in mind, it might be the season’s easiest recommend, I could see almost any anime fan getting something out of this.

I should mention at least in passing that the show looks and sounds good, too. In particular, there are some really great cuts of SQ emoting in the premiere here that make me very optimistic about how much fun this show is going to be long-term, and the cold, sealed-off atmosphere of the ship itself is hard to beat.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Anilist, BlueSky, or Tumblr and supporting me on Ko-Fi. If you want to read more of my work, consider heading over to the Directory to 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 manually typed and edited, and no machine learning or other automatic tools are used in the creation of Magic Planet Anime articles, with the exception of a basic spellchecker. However, some articles may have additional tags placed by WordPress. 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.

Posted on in anime, Let's Watch

Let’s Watch UMAMUSUME: CINDERELLA GRAY – Episode 14 – “Another Peak to Climb”

Let’s Watch is a weekly recap column where I follow an anime for the course of its entire runtime.

For the Cinderella Gray column, new installments will be posted either on the Sunday each episode airs, or as soon as possible over the succeeding week. Expect spoilers!

Cinderella Gray can be watched, legally and for free, on It’s Anime By REMOW on Youtube. A link is provided below for your convenience.

Oguri Cap faced her first major defeat on the race track at the hands of her rival Tamamo Cross in the finale of Cinderella Gray‘s first cour back in late June. Since then, the world has appreciably changed for Umamusume as a series. Perhaps most notably, the Global (read: English-language) version of the mobile game this is all meant to promote finally launched, and I know for a fact I was hardly the only person there on launch day to redeem my 3* voucher to get Oguri herself. This is relevant because, due to the game’s success, there is a very real possibility that this column going forward will have a much larger potential audience than it did back in Part 1. To that end, I’m gonna go ahead and say that if you’re not caught up with these columns, I, a completely unbiased source, think they’re pretty worth reading, and you can do so here. Also, welcome aboard.

I’ve also read the manga, or at least, what exists of the manga fan translated into English. I won’t spoil any twists before they come, but it has given me the confidence to say that Cinderella Gray not only remains as good a powerful sports shonen narrative as it was in the first cour, but it actually gets even better over time, right up to the present. There are stories I can’t wait to share with you all, and characters I can’t wait for you to meet. But we’ll get to those as they happen.

What’s not a spoiler, or indeed a surprise to anyone who’s been watching the trailers ReMOW has been putting up, is that this upcoming arc focuses on the Japan Cup, a prestigious international race that will see Oguri and some of her domestic rivals compete against umamusume from all over the globe. That Cinderella Gray returns today, on the day of the Prix de l’Arc de Triomphe—a different prestigious international horse race that Umamusume as a series is somewhat obsessed with (it was a plot point in Umamusume‘s third season, in fact. This despite the fact that a Japanese horse has never won it)—feels significant.

Interestingly though, that’s not where Part 2 starts. Instead, it makes the rather interesting decision to adapt the one-off spinoff The Mermaid Left Behind. What this means is that rather than diving straight into the Japan Cup stuff—what all of Part 2’s trailers were about, mind you—we instead return to the setting of the first half of Part 1, Kasamatsu, and the first story of the second cour is not about any of Oguri’s current rivals, but her first: Fujimasa March.

As Umamusume goes, what unfolds here is a pretty simple tale of rivals whose emotional bonds are unaffected by the physical distance between them. March is fresh off a haircut and a major loss at the Tokai Derby. We saw her conversation with Oguri Cap back in episode ten, where it seemed to reignite her competitive fire and give her renewed confidence to try again.

Yamano Thousand, the umamusume that March actually lost to in the Tokai Derby, does not see things that way.

Thousand is offended that March keeps trying to chase after someone who isn’t even here, and accuses her of running after ghosts. (She also insults the Norn Ace / Mini the Lady / Rudy Lemono trio by calling them Oguri’s “groupies”, which is admittedly pretty funny.) But if this seriously shakes March in any way, we don’t see it. It’s Mini, funny enough, who assesses Thousand accurately; her bark is worse than her bite, and her end closer strategy is a poor fit for a track with corners as tight as the ones here. In the end, March’s renewed passion perhaps as much as any strategic consideration lets her win handily, and she explains to Thousand—and implicitly to us as well—that she’s not chasing Oguri’s ghost. She’s chasing the real thing. This is the same March who first lit Oguri Cap’s competitive fire, and Thousand failing to understand that the glint in her eye and the blush on her cheeks are both because of Oguri Cap is part of why she loses. I don’t believe we’ll get another check-in on Fujimasa March like this, so this episode is, in a way, a nice sendoff to a Oguri’s first rival. A promise that her story is still being written, somewhere just out of view.1

The second half of the episode returns us to Tokyo. It largely focuses on Oguri’s national rivals but, once again, opts to refocus on who we already know instead of rushing headlong into introducing new characters. Most of these little vignettes focus on the umamusume preparing for their next race. For Oguri, that’s the Japan Cup that’s the center of this arc. Some of her rivals will be there too, but others, such as Dicta Striker [Hanamori Yumiri] have different aims. The latter in particular leads to a very charming scene where Striker attempts to do the old “intimidating rival challenging the protagonist on a level playing field” bit, talking about how she wants to hand Oguri her second loss in the Mile Championship, only for Oguri to promptly explain that she isn’t actually running in that. (She’s tailing Tamamo Cross, of course: the Japan Cup and the Arima Kinen, best known to players of the Umamusume game as where careers go to die, are her next two destinations.)

If there’s a unifying theme here, it’s that Oguri Cap and Tamamo Cross’ showdown has inspired everyone with an eye on the scene, from Oguri’s hometown friends to her rivals in the nationals, to greater heights. Even Sakura Chiyono O, the actual winner of the Japanese Derby that really was haunted by the ghost of the missing Oguri Cap, gets a scene here to show off that she’s not resting on her laurels. Nor is Yaeno Muteki, another of Oguri’s rivals and a perpetual underdog. Dicta Striker will get to run against her eventually, as well: she’s aiming for the Arima Kinen, too.

This even applies to Oguri herself to some extent, as Fujimasa March looks toward her, so does Oguri look toward Tamamo Cross. Each serves as the proverbial new peak to climb for the previous racer. (We must naturally assume that there is, thus, also some fresh-faced new student at Kasamatsu who thinks of Fujimasa March as an ideal to aspire to.)

All told, this is an odd and transitional episode and, generally speaking, a bit of a strange choice for Cinderella Gray‘s triumphant return. Still, it’s nice to see Fujimarch again, and the strong thematic throughline makes it make emotional sense as a returning point. Plus, the few crumbs we get here are going to feed March x Oguri fans for the next several months, so it certainly isn’t a bad episode by any means. It’s hard to deny though that the real lightning-in-a-bottle moments from this arc are very much still ahead of us. Part 2 is short—just ten episodes as opposed to the thirteen of the first cour—so I imagine we’re going to be getting into the main body of the arc relatively soon, within a couple episodes at most. We’ll see what that looks like in the weeks ahead.

1: Interestingly, March’s race against Thousand is also done in full racing silks. This goes against the series’ usual conventions as I understand them, where only national G1s are run in silks. Still, I’m not going to complain. March’s snazzy blue outfit is lovely.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Anilist, BlueSky, or Tumblr and supporting me on Ko-Fi. If you want to read more of my work, consider heading over to the Directory to 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 manually typed and edited, and no machine learning or other automatic tools are used in the creation of Magic Planet Anime articles, with the exception of a basic spellchecker. However, some articles may have additional tags placed by WordPress. 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.

Posted on in The Weekly Orbit

The Weekly Orbit [8/25/25]

The Weekly Orbit is a (sometimes) weekly column collecting and refining my more casual anime- and manga-related thoughts from the previous week. Mostly, these are taken from my tumblr blog, and assume at least some familiarity with the works covered. Be wary of spoilers!

Hi folks, bit of a light week here, and also one with not very many pictures. Hopefully that’s fine, I’ve been going through it a little bit.

Anime – Seasonal

Call of The Night – Season 2, Episode 8

Call of The Night does not go full horror anime very often, but when it does….brr.

So, yeah, Kyouko Mejiro is Anko. We could probably have seen this coming, but this episode confirms it in a tragic, delirious fever dream of blood and violence. I honestly have very little to say here, other than to remark that this episode absolutely excelled at imparting just how tragic Kyouko and Nazuna’s falling out was. I also suspect that there’s more to Kyouko’s father suddenly becoming a blood-starved vampire than we were shown here. After all, how exactly he was turned is a bit up in the air.

Dandadan – Season 2, Episode 8

I don’t think I remember the fight featured throughout the bulk of episode eight here being as memorable as this in the manga.

Which is strange, because when considered on its own terms, it’s pretty unique even for Dandadan. What we have here is a strength-building throwdown against a cadre of ghosts, taking the form of classical musicians. Primarily, this fight serves to do two things; give Aira something to do in this storyline, since she’s been absent for much of season two so far, and, more importantly, build and her and Okarun’s sense of “rhythm” to make them better fighters.

The show accomplishes this in a delightfully literal way with the ghost musicians, and I have to say that the chalk-white look really works well for the surreality of this episode. At about the halfway mark, the ghost of Beethoven summons a quartet of singing giants, who break into “Ode to Joy”, one of the ancestral bangers of western music, and it was around then that I realized I was watching another casual triumph in an anime absolutely stuffed with them.

If you want pure hype, though, next week is looking to top even this, as Okarun finishes this episode by promising to use his newfound strength to throw down with Evil Eye. Predictably—though not in an unwelcome way—we end things on a cliffhanger.

Necronomico & The Cosmic Horror Show – Episode 8

If we want to say that Necronomico & The Cosmic Horror Show has a main flaw, and I think we probably do, I would say it’s that it has a poor command of its own strengths.

What the show is good at: putting its characters into wacky (and life-threatening) situations, basic and broad character writing, effectively tying the death games’ stakes to the lives of its characters.

What Necronomico is not good at: social commentary, more complex character writing, anything with immediate (that is to say, visible to us) stakes outside the lives of its own characters.

This is a problem, because episode eight is mostly about the latter group of things. We zoom out here, taking a broad view of the world as seen in Necronomico. Our main heroines go on a TV show and the series attempts to recontextualize its own past writing, shaming its audience by having a sleazeball TV exec character refer to Kanna as a marketable tragic heroine. The problem there is that “marketable tragic heroine” is pretty much exactly what Kanna is. Her more complex traits—relatively speaking—mostly consist of being a bit rude sometimes. She’s not a perfect angel, but that’s hardly an actual character flaw. Puzzlingly, Necronomico seems to think it is.

Similarly, the attempt to drag and drop Eita into the role of a cult leader is just baffling. I’m not going to say it’s unrealistic—the rise of Elon Musk has proven that people will bleed and die even for the dorkiest and least charismatic leaders possible as long as they give them suitable permission to enact violence—but it’s not necessarily super compelling. He remains a dead spot in the series’ cast.

And there’s not really a lot that happens in this episode other than these two things? Sure, getting a proper introduction to our Vatican witch hunter type character, Joe, is nice, but beyond that it’s all setup. Thankfully, the final game seems suitably deranged, as our cast have been dropped in a freezing wasteland—Kadath, in fact—and have to somehow take down the four main Old God antagonists on their own. So I am hoping this episode is more of a speedbump than a sign that the show’s final third is going to suck. At bare minimum, I hope we at least get to see Cthulu show off at some point during this game, as she was mostly absent from this episode.

Ruri Rocks / Introduction to Mineralogy – Episode 8

We continue the theme of artificial minerals in this week’s Ruri Rocks. To be honest, most of this episode didn’t capture my imagination terribly much despite being perfectly fine, but I liked the scenes in the factory at the end. Ruri’s concern over whether she’s “allowed” to like Zincite reminds me, funnily enough, of some similar thoughts I’ve had about, say, Detroit agate.

There’s No Freaking Way I’ll Be Your Lover! Unless…. – Episode 7

I’m not entirely sure what to think of this plot development, but the scene with Mai and Satsuki fighting over Renako is pretty great. I have to give a special nod to the, I’m not even sure what to call it, evil Super Nintendo music? It plays when Satsuki shows Mai the photo of her and Renako kissing. A great scene in an episode I thought was merely pretty good, which when the last several have been great is a slight step down.

Anime – Non-Seasonal

Dominion Tank Police (OVA)

Well, this was just a bit puzzling. An interesting thing about these old OVAs is that they’re often baffling in ways that, on the surface, seem completely different from how a contemporary anime would be baffling, but taken in a broader view you end up with a lot of the same root causes.

For Dominion Tank Police, that’s basic incoherence. I can only guess here, but I think the two story arcs adapted for this four part OVA must be from quite far apart in the original manga, since that’s the only way I can think to account for this thing’s bizarre tone. We start with an extremely politically-charged argument between a mayor and a police chief about the role of police in society, wherein the chief advocates using nukes on criminals(!!), and from there it seems like the series is attempting to sort of hamfistedly parody buddy cop narratives. But this reading doesn’t really survive contact with episode two, which seems to take the cops’ side.

We ditch all this entirely for the second part of the series, consisting of episodes three and four, which exchange the over-the-top comedy action of the first half for something slower and more philosophical. I wouldn’t say the change in tone works to the show’s favor exactly, but it makes a kind of half-sense in the moment, even if it does leave almost the entire cast feeling like they’ve been replaced with different characters halfway through. I particularly like the weird explorations into conceptual sci fi toward the end; artificial humans, a winged environmental fairy named Greenpeace, blunt and unsubtle musings on the nature of man. Will any of this be elaborated upon to feel “satisfying” in the conventional sense? No, and given the, to put it lightly, troubling political sympathies of the series, I can’t cleanly recommend Dominion Tank Police. But I admit it’s entertaining on a moment to moment basis in a stoner-flick kind of way, and I appreciate that about it. Again, not something I’d show to just anyone, but it has its charms. Charms helped along, admittedly, by the across-the-board strong visual presentation. A sakuga-head watching this would find enough to enthuse over to keep their attention, and even if that’s not your specific focus, the show is sharply directed throughout and has a great use of strong color; lots of dark navy blues and purples, burnt oranges, and fluorescent blues and reds. (Like a police siren, you see.)

Even aside from everything else I’ve outlined here, the catgirl criminals are an excellent pair of characters (and so fashionable!) and the show’s music is unimpeachable.

Manga

Big Love From Ultra Deep Space – Chapters 1-5

This….is okay!

Only five chapters in, it’s hard to make many claims about Big Love From Ultra Deep Space. The manga is about an alien princesses being betrothed to an ordinary (if gloomy) high school girl. So far, my main takeaways are that the character designs are all lovely, and tonally it’s pretty cute, with a lot of nice domestic scenes between our leads as the princess settles into her life on Earth.

It does however try to tackle some more serious subject matter, too, with the pair’s classmates initially harboring some suspicion of the princess, the lead girl having a troubled past, and so on. Unfortunately the handling of these aspects has so far been a bit contrived. There’s definitely still time for the manga to improve in this regard, and the fifth and most recent chapter is definitely a bit better than the previous four, so it may be a case of the mangaka—Ashidaka Woz, no relation to Scott The, presumably—finding their narrative legs.

If the manga has a central theme, it’s this:

There’s something really beautiful in the sentiment expressed here, the idea that just inherently, we often need others to see the best parts of ourselves. That people mean different things to different other people. I think if it pursues this core theme, Deep Space could really put together something special.

As is, it’s mostly cute and not a lot else, but we’ll see how it develops as time goes on. If nothing else, the art is beautiful, so it’s not hard to recommend off the back of that alone.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Anilist, BlueSky, or Tumblr and supporting me on Ko-Fi. If you want to read more of my work, consider heading over to the Directory to 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 manually typed and edited, and no machine learning or other automatic tools are used in the creation of Magic Planet Anime articles, with the exception of a basic spellchecker. However, some articles may have additional tags placed by WordPress. 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.

Posted on in The Weekly Orbit

The Weekly Orbit [7/26/25]

The Weekly Orbit is a (sometimes) weekly column collecting and refining my more casual anime- and manga-related thoughts from the previous week. Mostly, these are taken from my tumblr blog, and assume familiarity with the works covered. Be wary of spoilers!

Hi folks! It’s probably late at night for most of you as I post this, but I wanted to get one out this week, so I was willing to put it up outside my usual posting hours. Weirdly, the late hour sorta works, here. We’ve got a buffet of somewhat darker episodes this week, with only a few exceptions. Do enjoy.

Takopi’s Original Sin – Episodes 4 & 5

I haven’t written about Takopi’s Original Sin basically at all since it started airing, and I think part of that is a desire to not pass any judgment on something like this until I fully understand where it’s going. But it’s worth breaking that silence to say; this might be the best-animated episode of any show this year. There is some steep competition in that regard, but the way the visuals wobble out to convey Naoki’s dissociative state throughout much of episode four is really something else.

Narratively, I’m slightly less sure of what we’re doing, but the series has been good enough so far that everything I’m about to say should be taken as, at absolute most, a minor qualm. I think you can put the three kids that star in this story on a scale as to how obvious it is that the show wants you to sympathize with them: Marina was the least sympathetic, an incredibly vicious bully whose outbursts were explained by the revelation that she was physically abused at home. Her being perhaps the “worst” (I use the term very loosely) of these kids made her death all the more shocking. It’s not punishment vested on a bad person, it’s an absolutely tragic end to a very unhappy child whose life was defined by abuse, which she was the victim of but also the further perpetrator of. Naoki is the most overtly sympathetic, being subject to harsh psychological abuse by his own mother for much of his life and having few of the more “unpleasant” qualities of the other two. Shizuka, our protagonist, is somewhere between these two poles, and that’s where I’m scratching my head slightly because the specific way she’s between those extremes feels like something I’m not entirely clicking with. (Saying all this, I must again clarify that I am referring to ‘sympathetic’ as in the way that the narrative presents these characters to us. Personally speaking, I sympathize with all of them, because they’re young kids trapped in absolutely awful situations. But I digress….)

Naoki is talked into being an accomplice to covering up Marina’s murder because Shizuka basically charms him. Now, in of itself I think the beat of Naoki falling for Shizuka and this informing his actions is fine. But the degree to which Shizuka leans into it and actively leads him on just strikes me as kind of odd. To be clear, I don’t think this is “problematic” or whatever, I think what the series is trying to do is make a point about how people tend to take after their parents (in particular, bad mothers, respectively neglectful, psychologically abusive, and physically abusive, are a shared commonality between Shizuka, Naoki, and Marina respectively. Naoki’s brother even compares him to his mom explicitly). The framing is what feels a little odd to me, which I imagine is a problem unique to the anime, with the cartoon gunshot sounds accompanying Naoki’s gaga heart eyes probably being the most over the top example. (Although to be honest, now that I’ve laid it out here, I think I’ve actually talked myself out of having a problem with it. But it does still feel like the anime is trying a little too hard to shock us with how “bad” Shizuka is, maybe that’s just in my own imagination.)

On another note, Naoki’s brother is handled in a really interesting way throughout this episode. The bit where he comfortingly pats Naoki’s head and it’s portrayed as this bright, cheerful bit of magic is another example of the show’s visuals being over the top, but in a way I really appreciate.

Episode five, meanwhile, is another swerve and once again takes things in a somewhat different direction. I’m using this space to both jot down some thoughts on episode five itself—which, this is the rare thing that’s exclusive to this column, I’m not pulling from my tumblr here—but also to bounce off of this reblog addition to what I wrote above on the previous episode by tumblr user angyo. Angyo puts forward that the reason behind the way the show treats Shizuka is that we are to understand Shizuka and Marina as being two sides of the same coin. People in what are, at the end of the day, actually quite similar situations, being driven to life-or-death extremes by respectively Shizuka’s need to see Chappy again (even though he is probably dead) and Marina’s need for approval from her mother. (“Cornered raccoon rules”, as angyo put it, a turn of phrase good enough that I’m stealing it.) And I do think this is directly relevant to episode five, because what the gradual darkening of Shizuka’s character—what I took for an attempt to shock the audience just two paragraphs back—is actually an attempt to underscore how easily these characters could switch places. It is very easy to imagine, for example, a situation where Takopi encountered Naoki or Marina first upon arriving to Earth and this entire narrative is framed differently, with Marina as the most overtly sympathetic of the cast and Shizuka as the “bad guy.”

In fact, you don’t have to imagine this at all, because that’s exactly what episode five is. Shizuka and Takopi make it to Tokyo only to find that Shizuka’s father has since started a new life with some other woman and now has two other kids. Any hope that her father might entertain the idea of helping Shizuka is dashed when one of his other children asks him who this strange girl is, and he shuts the door on her. Backed into a corner yet again, she takes it out on Takopi, bashing him with a rock hard enough to induce forgotten memories to rise to the surface. He remembers something—wait a second, he actually has been to Earth before.

In a previous timeline, Takopi met Marina first. Thus, the anime’s fifth episode is a rough perspective flip of its first. Takopi—not yet known by that name—befriends Marina, more or less, and helps her navigate life from ages ten to sixteen or so. Shizuka is actually barely present in this version of events. Instead, we focus on how here as in the timelines we’ve already seen, Marina’s youth is defined by the abuse of her mother, and there’s a heartbreaking bit where Takopi, again totally innocent, observes that Marina must smack him around so often because her mother does the same to her. It’s these moments where Takopi’s Original Sin is most devestated, not where things reach an elevated fever pitch, but when Takopi makes a simple observation that any child could.

As things seem like they might finally be getting a bit better for Marina, Shizuka reenters the picture at a crucial moment. She (inadvertently? I’d like to think so) steals Naoki, here Marina’s boyfriend, from her. This leads to a terribly sad series of events that culminates in Marina finally snapping under her mother’s abuse, killing her and, it seems clear, eventually herself. Takopi knows what he must do to prevent this; he has to kill Shizuka, and he’ll use the time machine on his home planet to do it.

Forcing his way to the machine, he is reverted to mental childhood himself by the mysterious mother figure of his home planet, and by the time he returns to Earth we’re back at the start of episode one, and he’s forgotten about Shizuka and Marina entirely.

The strongest parallel here is thus that despite Takopi’s best intentions, he has demonstrably led both of this show’s protagonists to bad places, and eventually their deaths. The show’s present timeline, which we return to at the end of the episode, gives him a chance to potentially fix all of that, but it’s difficult to imagine him succeeding for the same reason that Takopi is, despite everything, still ultimately sympathetic. He’s basically a child himself in his current state, he has a simplistic understanding of the world, which is why his most sophisticated attempts at problem solving in the entire show so far boiled down to “kill Shizuka” and “try to help Shizuka cover up that she killed Marina.” Episode five ends with the unexpected return of Naoki to the main timeline, and between him coming back and Takopi’s memories resurfacing it’s hard to say where all of this will eventually end, but any show that makes its viewership turn over character dynamics this thoroughly is doing something right. Just one week out from its finale, it remains one of the season’s most compelling.

There’s No Freaking Way I’ll Be Your Lover! Unless…. – Episode 3

I like to give a show credit when it manages to completely throw me off. I do see how we got here Watanare‘s first episode, but it’s definitely still not a direction I expected the show to take when I watched its premiere.

There’s a lot of things I could talk about here but I’m a little uninterested in attempting to make some grand proclamation about what this narrative development “means.” Because I’m sure tons of people are already doing that and, to be honest, I do not really need my fiction to be a morality fable, so I don’t have strong opinions on where they’re going to take this. I’m fine with anything as long as it’s interesting.

I actually wanna talk about the backgrounds, mostly.

I’m hitting the limits of my artistic vocabulary here, because I don’t know what about them makes them look this way, but a good amount of the backgrounds in this series have a very flat and fake look to them. These are spaces meant to emphasize their own artificiality, and it hits a height in this episode that I was worried we wouldn’t see again after the premiere.

This isn’t a bad thing, It’s clearly deliberate and is meant to convey a sense of alienation. It’s also a very subtle inflection, and it’s one of my favorite things about the show. It’s most obvious with Mai’s room in Paris-

-and the suburb Renako lives in.

But notably, Renako’s room itself takes on this quality during the night after the incident at the end of this episode, which I think is a great way of quickly and subtly conveying her anxiety and confusion.

I’m unwilling to contribute to the discourse (in both the literal and euphemistic sense of that term) around the show beyond this, at least so far, but it’s definitely established itself as quietly being one of the season’s more interesting anime. I salute that.

Necronomico & The Cosmic Horror Show – Episode 4

I need an anti-favorite characters list on Anilist so I can put Eita on it. I get characters like this are supposed to be annoying and hateable so they can die late in the show for catharsis, but the dude is seriously just aggravating as shit. Also, I feel like there’s a version of this same character in every show like this so he’s not even particularly interesting or novel. Maybe my perception is skewed since I haven’t actually seen that many of these, but yeah.

Anyway, other than his being generally grating as fuck and the weird “on-screen chat commentary” gimmick, this is actually probably the best episode of the show so far. It’s also the best-looking since the premiere, a good sign for a show that would be lost without some visual oomph. I was a little worried we were already running out of ideas for death game setups with the second one, but the escape-room-with-the-directions premise the Old Gods field here is pretty solid. More importantly, the actual environment of Hotel Reversal, as it’s called, is really good, I love all the oranges and greens and the generally very zany vibe of the hotel itself. It makes it feel like a real escape room game despite the high stakes. We lose a few people this episode too, and it’s no big loss because they’re among the less interesting characters. My bet is that the teacher is the next person to die, but we’ll see.

Ruri Rocks / Introduction to Mineralogy – Episode 3

I’m really delighted by the decision to expand the show’s world a bit here. The anime’s first two episodes were nearly devoid of anything but Ruri and Nagi’s mineral expeditions. Here we meet one of Ruri’s colleagues, Imari Youko [Miyamoto Yume], and since we’ve roped a third person into this setup, the scope of the show expands too.

The entire iron mine trip is lovely, but obviously the bit at the end with the Flourite vein is the episode’s apex. We have an actual cliffhanger of sorts at the end and I really cannot wait to see what else this show has in store. The next episode of this show will likely have aired already by the time you read this, I’m sure that one will be lovely too.

It is also worth restating that Nagi remains just devastatingly hot. Anime woman of the year, I won’t apologize.

Call of the Night – Season 2, Episode 4

Well, this episode hit me like a ton of bricks.

Overall, Call of the Night has been improving steadily since it came back. (In fact, I’m starting to think the premiere was the weak link.) As such, there’s a lot to like in this episode; visually it’s an array of achingly lonesome liminal spaces, hospital rooms so dreary you can practically smell them, and dramatic, frightful closeups. The same borrowed horror language that the show used in its first episodes.

There’s all the show’s usual strengths writing-wise, including some great banter between Ko and Nazuna. But what really takes this episode to another level is its second half, where we learn the backstory of the character Honda Kabura [Itou Shizuka], a long-time supporting member of the cast and one of Nazuna’s fellow vampires. I don’t want to relitigate all the specifics, but the gist is that Kabura was, as a human, sickly, frequently in and out of hospitals. What we see of her friend group paints them as pretty unsupportive and shitty people, and in fact, her nurse tells her this outright.

Her nurse is, or at least appears to have been, Nazuna. But she’s not called Nazuna, as this person refers to herself as Haru. So either Nazuna went by a different name back then—it would track, given her almost total amnesia as to her earlier life established in last week’s episode—or there’s something else going on here and this is a relative or somesuch. Either way, Haru seems to be just about the only person Kabura really had in her life, so when things reach a breaking point, Haru is the person there for her. This all has an extremely strong gay overtone—more than that, really, since when Haru is running down a list of things that she hates and which have been imposed upon her, she includes men—and when it inevitably comes time for Haru to turn Kabura into a vampire, Call of the Night actually brings back its season one opening theme, drawing a direct line from what happened to Kabura in her own past and what happened to Ko at the beginning of this story.

Their specific situations are different. Ko’s problems seem to be mostly mental and social. Kabura’s to at least some extent are physical. But the effect is the same; these two are societal outcasts. When one of Kabura’s shitty friends visits her in the hospital, she ends up snapping at her. She hits the nail on the head though—these people really do look down on the sick and the unwell, those of us who walk slow or don’t socialize. When Haru offers to turn Kabura, she phrases it not as inviting her to vampirism but as inviting her to the opportunity to live a full life with actual meaning. “Do you want to be able to run?” asks the vampire. The girl who can only walk slow does not need to even speak her answer, for the vampire already knows it.

Anime – Non-Seasonal

The Epic of Zektbach

Well, this was quite a goofy thing.

Essentially, what we have here is a highly compressed attempt at a heroic epic about a character named Shamshir. Shamshir saves her country from an invasion, but her fellow soldiers are entranced by her “dance”—her fighting style—and eventually start committing murders, which Shamshir herself is blamed for.

This doesn’t really go anywhere despite a small handful of interesting ideas—we see things from Shamshir’s and also the murderers’ perspective a few times and they seem to see their targets as masses of binary code and chemical formulas—and the OVA unceremoniously peters out after Shamshir gives in to her bloodlust and murders her entire city, seemingly including her childhood friends.

Apparently, this is one facet of a larger franchise connected to a bunch of concept music, some small booklets, and a now-defunct website, so maybe this makes more sense in context (the series’ somehow still online Fandom wiki boldly claims the series has “gnostic themes”) but as an OVA it’s pretty bad. Not helping is the fact that it looks like absolute mud; almost everything is a shade of brown or red with occasional grays. The resulting visual effect is a bit like if a show had a sub-Attack on Titan color palette on Arifureta‘s visual budget. Still, there’s a charm to the specific kind of bad on display here, not so much so that this is worth seeking out, but I at least had a good time poking fun at it with my friend Josh, who I have now promoted to main-body-of-the-article status, I suppose. (Hi Josh.)

Josh and I started watching old OVAs together recently after having the brilliant decision to knock out famously bad anticlassic Garzey’s Wing together—if you see more OVAs here in the future you can thank them—and they in fact found one of the music videos that comprises the bulk of the remainder of the Zektbach franchise. It is way, way better than the OVA, and also has a much nicer art style. It lacks much of a narrative given that it’s, you know, a 2-minute music video, but it’s much more worth watching than the OVA, I think. I’ve embedded it below.

Puppet Princess

This, on the other hand, was just an absolute slap from start to finish.

These OVA centered around some kind of odd conceit from back in the day aren’t always as great as the general concept makes them sound. But this one and its puppet fighting gimmick really are just as much fun as the idea promises. Obviously, there are a lot of really excellent action sequences here, mostly revolving around our protagonist Rangiku’s [Uechi Aki] array of fighting puppets and the large box she keeps them in. But it really can’t be overstated how absolutely great this thing looks in general, the direction is razor-sharp and in particular the more horror-leaning scenes really pop. (As a side note, basically everyone suddenly gains individually-drawn teeth and bulging eyeballs when they’re going through terrible things. The former in particular means this probably has the most teeth-per-minute of any anime I’ve ever seen. Just something to think about!)

Also present is a master ninja / illusionist named Manajiri [Wakamoto Norio. Yes, really!] who serves as a sort of secondary dynamic. They have a solid dynamic. Although sullying it somewhat is that there’s a decidedly uncomfortable and unfortunately very of its time bit where he tries to grope Rangiku while she’s cleaning herself in a waterfall, although he does at least back off, which is more than can be said about many characters who’ve been placed in similar situations. It’s a little unfortunate since Manajiri is otherwise a pretty great character in his own right.

Rangiku’s puppets are easily my favorite thing about the OVA overall, though, she cycles through a couple of them over its 40-odd minute runtime and while the best is probably the large red samurai she uses for the first and last battle, they’re all great. Naturally, they become the tools of vengeance used to kill the man who murdered her father. Between the beats of the vengeance plot, there’s also some interesting (and harrowing!) stuff in here about how badly her father treated her in favor of the puppets. You can thus extract an interesting thematic line about a man in power favoring literal dolls over the human women in his life, but the OVA only has so much time to explore this. My only real complaint, in fact, other than the waterfall scene, is that I actually wouldn’t have minded watching a lot more of this. I think you could pretty easily extend this to a full series.

And interestingly, it almost sort of did? Puppet Princess itself never got a TV anime, but one of the mangaka’s other projects, Karakuri Circus, did, nearly twenty years later. It features a similar overall premise, which may be enough to finally get me to check Karakuri Circus out after having had it on my plan to watch….since it was new, I believe. There’s a lot of interesting anime out there! For better or worse.

That’s all for this week!

It’s been a long time since I did one of these, but on your way out the door why don’t you take a Bonus Screencap along with you? This time of Nazuna in her nurse getup from the Call of the Night midcard for this week.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Anilist, BlueSky, or Tumblr and supporting me on Ko-Fi. If you want to read more of my work, consider heading over to the Directory to 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 manually typed and edited, and no machine learning or other automatic tools are used in the creation of Magic Planet Anime articles, with the exception of a basic spellchecker. However, some articles may have additional tags placed by WordPress. 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.

Posted on in anime, Seasonal Impression Roundups

Seasonal First Impressions: TURKEY! TIME TO STRIKE

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.

There is a real, delicate art to the bait-and-switch premiere. You basically have to sell the audience on two different premises, and you have to sell them on the second one hard enough that they don’t mind that you’re not really doing the first (or at least aren’t doing it the way they thought you would). Also, if you’re really committed to the bit, most or all of your pre-release marketing is going to be about the first premise. So you’re trying to catch fish with the wrong type of worm, essentially, and making it that much harder on yourself in the process.

Accordingly, anime that take this kind of swing are a bit rare. The most recent example I can think of is last year’s Bang Bravern, and its two conceits are closely enough related that I can’t imagine too many people were majorly disappointed when it turned out to be a super robot show instead of a gritty real robot show.

Turkey! Time to Strike was presented in its early marketing materials as a simple show about bowling. This is a valid niche within the “girls doing stuff” supergenre of anime, for sure, and it comes to us from Bakken Record, a studio whose main prior credit of note is Ippon! Again, also a show about a girls’ sport club—judo in the case of that series—so this seemed like a perfectly logical next step. No one had any real reason to believe this was anything but a straightforward drama (or comedy, or maybe both) about a girls’ bowling league.

In its opening minutes, that’s exactly what it is. We open on our heroines flubbing the opening match of a tournament, as our lead Otonashi Mai [Hishikawa Hana] gets a snake-eye split on her final ball and washes her team out of the match. Tensions run high afterward, with the serious and competitive Godai Rina [Ichinose Kana] accusing her of throwing the match deliberately. Rina has quite a lot to say to her other teammates, too, pointing the finger at Mitaka Nozomi [Tenma Yuuki] for doing her makeup and not taking the game seriously while it went on, Ichinose Sayuri [Iwata Haruki] for constantly throwing gutter balls because she tenses up so bad, and the nerdy Nikaidou Nanase [Itou Ayasa] she simply calls a benchwarmer.

As this argument drags on, it comes out that Nozomi and Sayuri only joined in the first place because Mai asked them to, and Nanase only joined because she thought the experience might “help her in the future” in some way. Upset with all of this, Rina quits the club. Mai reassures the others that she’ll talk to Rina at school the following day, since she doesn’t want the club to be disbanded for lack of membership. There’s some nice camera work here where Mai takes her ramune—this entire dispute started in the first place because the club bought a round of “celebratory” sodas despite losing—and drinks from it, the marble inside rolling around like a bowling ball as the camera fixes on it. So far, so sports drama.

On their way home, the remains of the bowling club spot a construction site where a pit is being dug. They remark that there was a secondhand book shop there just two days prior, and one of the girls muses that it takes only an instant to lose something. For whatever reason, this really gets to Mai, and she decides she has to reconcile with Rina right now. Thus invigorated, she and the rest of the bowling club make their way to the alley again to try to patch things up with her. Rina’s not terribly impressed by Mai’s pleas, but she offers a simple ultimatum: if Mai can beat her in a bowling match, she’ll at least think about coming back.

Thus, we get a nice setpiece of the two going head to head, one on one, the bowling balls thundering down the lane as a downpour breaks out outside. It’s honestly pretty solid, and you can see the kind of show that Turkey could easily have decided to be on display here. This sort of thing, the idea that the best way to understand someone, to get through to them, is to take them on in your shared field of competition, is very common in sports anime and fiction about athletics in general. It’s good stuff, and Turkey sells it well.

On the last frame, Mai throws a split again, and Rina storms off, assuming she’s doing this on purpose and that Rina’s being mocked. But Mai won’t give up, and she throws her second ball right as a bolt of lightning strikes a mysterious artefact dug up from the construction site outside. At that very moment, Turkey stops being a sports anime, and becomes something else entirely.

And that’s the end of the episode!

Seriously!

What utter goofball shit! What chutzpah! Why would you make a show like this?! Turkey, whose English-market subtitle Time to Strike suddenly makes a lot more sense, opens itself up to both barrels here. If you’re here for the sports drama stuff, the ending is going to throw you for a complete loop. If you heard about the twist beforehand and wanted the show to get to that, you have to get through a whole episode of teenagers arguing about fucking bowling first. So on the surface, this seems like a terrible idea. And yet, to me at least, this speaks to an unshakeable confidence in this story. That doesn’t necessarily mean that Turkey is going to turn out to be some kind of masterpiece, or even be particularly good overall, but come on! How can you not love that?

Even so, I do think the show has a good command of its own strengths. There’s a strong web of character dynamics underpinning this episode that works equally well for both the “sports drama” premise and the “stranded in the past” premise, and I think that’s going to be the secret sauce that ties the whole thing together. Even if it doesn’t, when you pivot from a bowling club to time travel in your first episode, I can only wonder what the hell else you have in store. Thus, Turkey is a representation of probably my single favorite thing about anime, its endless capacity for surprise. None of us know where this is going, but the second trailer for the series, released after the premiere dropped, provides a hint.

Where we’re going, we don’t need lanes to bowl.

Like what you’re reading? Consider following Magic Planet Anime to get notified when new articles go live. If you’d like to talk to other Magic Planet Anime readers, consider joining my Discord server! Also consider following me on Anilist, BlueSky, or Tumblr and supporting me on Ko-Fi. If you want to read more of my work, consider heading over to the Directory to 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 manually typed and edited, and no machine learning or other automatic tools are used in the creation of Magic Planet Anime articles, with the exception of a basic spellchecker. However, some articles may have additional tags placed by WordPress. 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.