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.
In its own way, the daylit parallel present-day of Love Live! Nijigasaki High School Idol Club is a utopia. In the show’s first season, from back in 2020, there were few if any conflicts that could not be solved with a song. It was a fairly far cry from the franchise’s stereotypical portrayal as being obsessed with school-in-danger plots and melodrama. Its highlights, uniformly, were livewire “music videos” that disregarded any pretense of realism for pure visual splendor. What it may have lacked in minute detail–although it could do that too, at times–it more than made up for in a truly rare dedication to pure spectacle.
Nijigasaki High School Idol Club‘s second season continues that devotion; opening as it does with a delightfully bonkers promotional video shot by the titular Idol Club. We get reacquainted with most of the first season’s highlight characters here, although the actual narrative, in as much as there is one, stays firmly centered on club behind-the-scenes-er / sort-of manager Yuu Takasaki (Hinaki Yano), and new girl Lanzhu Zhong (Akina Homoto).
Before we discuss what that narrative actually is, though, we should take the broad view for a moment. Nijigasaki is in an interesting place in 2022. The first season’s only real competitors in the idol anime format were Hypnosis Mic, which targets a different audience and has vastly different aims, the already-forgotten Dropout Idol Fruit Tart and Lapis Re:LiGHTS, and the utter train-crash that was 22/7. In the present day, though, Nijigasaki is no longer the only smart kid in the class, and there are other, equally-bright pupils of the genre present. Mostly in the form of the admittedly yet-to-premiere wildcards Healer Girl and next season’s SHINE POST, but even this season has Ya Boy Kongming!, which despite its absurd premise and smaller focus on just one singer, is very much in at least a broadly similar tonal space. There’s even a fellow Love Live season, also premiering in Summer; the followup to last year’s Love Live! Superstar. In other words; there is an actual level playing field for the first time in a while. Nijigasaki‘s status as Idol Anime of The Year is no longer a given.
In a way, the increased competition is mirrored in the first episode’s own story. What we have here is pretty simple, Lanzhu near-literally steals the show during the Idol Club’s promotional time at a school event. Her songwriter Mia Taylor (Shuu Uchida) makes a bit of an impression earlier on in the episode, but Nijigasaki is Lanzhu’s show, this week. And tellingly, it’s she, not any of our returning characters from season one, who gets the premiere’s music video. It’s a thing of beauty, and also as pompous and grandiose as any real pop diva’s videos, which, as we soon find out, fits her character pretty damn well.
The music video, it must be said, carries on the tradition of total showstoppers from season one very well. These are the episode’s centerpieces and need to convey important information in addition to being visually compelling, and Lanzhu’s knocks it out of the park on both counts. The scene transitions have her doing all kinds of random but awesome-looking nonsense like posing in a bubblebath, standing on top of a bunch of aquariums, and dancing in an elevator while wearing what looks like a borrowed Revue Starlight costume.
By this, do I mean “it has epaulettes”? Yes.
Shot made and sunk; Lanzhu is immensely talented and also hugely egotistical.
That latter point is followed up on at the end of the episode in what is the only real development of conflict here. Lanzhu basically calls the Idol Club a bunch of posers and announces her intent to enter the Idol Festival by herself and to upstage all of them. She does, admittedly, come across as astoundingly bitchy here, but it says a lot that this is what passes for villainy in the Love Live universe.
This does raise the possibility that the second season of Nijigasaki might possibly be more in-line with the melodramatic Love Live baseline than season one was, which would, admittedly, bum me out ever so slightly. But on the other hand, the Idol Club end the episode resolute that their new rival simply means they all have to work harder, and that “where dreams come true” tagline rears its head again in the premiere’s closing moments. That in mind, even if Nijigasaki High School Idol Club isn’t the shoe-in for its genre’s nebulous AOTY award that its predecessor was, it’s hard to imagine the girls won’t be alright. These are school idols we’re talking about, after all, and if my decade-plus of anime watching has taught me anything, it’s that high school girls can do anything.
The Takeaway: Obviously, you should watch season one first, but unless you just hate pop music, you should, of course, check this out.
Special Thanks: Additional Idol Research for this article was provided by Josh the Setsuna Fan, thanks Josh.
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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.
Friends, I may have met my match today.
I pride myself on being able to find something, if not necessarily substantial, at least evocative to say about every anime I cover. That streak, which has in my own opinion continued uninterrupted for the two years I’ve piloted this blog, may well come to an end today. Writing about Aharen-san wa Hakarenai, an absolutely narcotic new offering from Felix Film, feels like trying to draw blood from a stone. (The title means something like “Aharen-san is Unfathomable”, but in a rarity for a modern TV anime, it has no official English title, and is being released in the EN market under a romanization of its Japanese name. This may be the most interesting thing about it.)
The premise could not be simpler. Two new high school students, the tall boy Raidou Matsuboshi (Takuma Terashima), and the diminutive girl Reina Aharen (Inori Minase), are chronically shy, and end up seated next to each other in their classroom.
At one point, Reina drops an eraser and Raidou picks it up. The two bond over this simple act of kindness and become fast friends.
Premises this simple can lead to great things. Last year, Komi Can’t Communicate did a lot with a similar idea (down to the fact that both Aharen and Komi are difficult for other people to hear). Nearly a decade ago, Tonari no Seki-kun took the same “desk neighbors” premise and ran it into a totally absurd direction, creating one of the more memorable surreal shortform comedy anime ever made. In the case of Aharen-san, though, I could not only tell you that it doesn’t do anything great with its premise, it doesn’t really do anything with its premise at all. Calling a slice of life anime “boring” is a little like calling ambient music such, but even for iyashikei–that subgenre sometimes known as Ambient TV–this is utterly torpid. Almost nothing of note happens over the course of the first episode’s 22 minutes. There are a few slow-rolled gags dolloped throughout the whole thing, but very little else. Visually, it seems to adapt the look of the manga basically 1 to 1. Contributing to the soft-focus ambiance, everything feels very placid and understated, even the gags. There is plenty of softness here, but only occasionally any actual warmth. This is the Pure Moods of school life anime. (And honestly, I like Pure Moods a lot more.)
Lest it seem like I’m trying to trash the series, I can at least understand the appeal. Aharen-san fills a role akin to lo-fi beats to relax to. It presents an all-consuming nonspecific fuzziness that, if you allowed it to, could conceivably, provide an escape from the cares of the real world. For me, I mostly found it vaguely grating. I will concede that I did chuckle at two of the episode’s few true jokes; Aharen misinterpreting something Raidou said in the form of repeatedly headbutting into him from a distance, and whatever Raidou is doing here.
Other than that, I really can’t find much to say–to praise or to criticize–about this series at all. The post-credits sequence does tease a new character for next week, so maybe that’ll shake the show up somewhat. Until then, though, the most interesting things about Aharen-san are its OP and ED. This one is just not for me.
The Takeaway: If you’re looking for something to put you to sleep, this might help. Otherwise? Unless you have a monstrously high tolerance for pure, uncut cotton, I would probably give this one a skip.
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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.
Try to count them and their numbers are endless. Their visages form a parade of baby faces and expressions of bitter smarm; Kazuto “Kirito” Kirigaya, Naofumi Iwatani, Rudeus Greyrat, Takuma “Diablo” Sakamoto. They are ordinary until they aren’t. They are you, dear viewer, and all the strengths and flaws they think you have. They are everyone and no one. For a while, starting up The Executioner and Her Way of Life, it seemed as though we might be able to add a new face to that list.
But looks can be deceiving, and those paying attention will note there is no mention of a “His” anywhere the title. If our little friend there is the main character of some story, it isn’t this one. The show’s opening episode takes just enough time to lead anyone going in blind (like say, yours truly) on that I imagine not everyone will get through it. The ingredients of a deeply generic series are here; That Guy is summoned to another world, ends up in a rough situation, and is pitied and taken care of by an attractive female lead who seems destined to play second-fiddle to him.
But I’m getting ahead of myself. First, a general thought. It is perhaps no surprise that there are few genres of modern anime–few genres of mainstream television period–more maligned than the isekai series. And while any genre so large is bound to produce works that strike outside of the established mold, we have been living in the middle of our own Isekai World for a solid decade now. It’s not just that people are tired of the genre–although that certainly is part of it–it is that they are tired of what the genre represents. The all-shortcuts worldbuilding, the ambient misogyny, the imperialistic undertone of an average Japanese teenager being teleported to an unsullied world only to inevitably dominate it through (depending on the series) some combination of “modern knowledge” and sheer Main Character Status. The problem is far worse the lower the barrier to entry, but plenty of these have seeped into the anime mainstream for years now. Speaking personally, I ignore the vast majority of them unless I’m given good reason to not. Because of that, I’m content to generally not speak on them at all.
But I sort of have to here, because while I myself am pretty down on the genre, I don’t think I hate it nearly as much as whoever wrote Executioner does.
Credit should be given here. Having a bone to pick with something does not mean you understand it, necessarily. But in Executioner‘s opening minutes we get some expository worldbuilding that is displays an intuitive understanding with all the unfortunate implications built into your ISO Standard Isekai Story. The world of the series is frequently visited by “Lost Ones”, people who come from a mysterious otherworld called–you may have heard of it–Japan. Lost Ones are summoned via various means (a scheming king is how our Potato-kun friend ends up here), and inevitably end up bringing knowledge to the world. Our nominal protagonist assumes he can contribute to this tradition, mentioning the wonders of mayonnaise (seriously), to which his tour guide, the aforementioned female co-protagonist Menou (Iori Saeki), replies that it’s “pretty tasty.” Banter of this nature continues; he naturally assumes he will be given free shelter and money since Menou is a priestess (he’s right on the first count, wrong on the second), he idly remarks that another Lost One he saw be summoned “had big boobs”, etc.
Can’t you just feel her enthusiasm?
All the while, Menou patiently explains to him that the world is divided into three classes–Commons (ordinary people), Noblesse (nobles and kings), and Fausts (the clergy, the only one with a slightly odd name) –and it becomes rather difficult for the viewer to not notice that whatever language(s) may have once been spoken in this world, they’ve all been supplanted by Japanese.
So, you have an arrogant asshole of a protagonist who thinks he’s god’s blessing upon this wonderful world despite all evidence to the contrary, and the broad implication that at some point at least some former Lost Ones may have Done An Imperialism with the help of their powers. (Of course they gain magic powers upon being summoned to the new world. This is still an isekai we’re talking about.) But if Executioner stopped there we’d merely be in vaguely ReZero-ish territory. Instead, when Menou helps this guy figure out that his magical power is “Null,” the ability to straight-up erase anything he’d like from existence, she does this.
Again, no “His” in the title.
The lead-on is a touch obvious, maybe. I could tell even from the first few scenes that this wasn’t going to be a straightforward isekai power fantasy, but I was legitimately surprised to see our heroine–our actual protagonist, mind you–straight-up stab someone in the damn head. Really, I shouldn’t have been. It’s right there in the name; she’s an executioner.
If all Executioner had up its sleeve was this single twist, though, I wouldn’t be writing about it at this much length. The fact of the matter is that the series immediately tosses a wrench into its own assumptions as soon as she does the deed. She spares a prayer for him, proving the priestess thing as no ruse, and says that in truth, at least by her own reckoning, he did nothing wrong.
Over the remaining half of the episode, we get a good amount of insight into Menou’s character. She has dreams that imply that she herself might be from another world; a world where she’s an ordinary high school girl and has a best friend who she misses dearly. Her religious devoutness is sincere, and she chastises her clingy lesbian cohort Momo (Hisako Kanemoto) for casual blasphemy. And she has a casual, friendly relationship with one of said religion’s archbishops. (In general, this religion seems awfully Christianity-ish. But whether that’s foreshadowing or just a straight use of a pretty typical fantasy trope is hard to say at this early juncture.) All this works to establish her as someone who grits her teeth and plays this role because she thinks it’s the right thing to do, not necessarily because she finds it pleasant.
In flashback, we learn how she was brought into the fold of “the church”‘s executioners; by being the only survivor of a Lost One accidentally destroying a whole town.
There is some pretty wild imagery in here; the Lost One in question transforming into a huge giant made of white ash after being killed by a different executioner. That’d be the vindictive Flare (Yuuko Kaida), who at the conclusion of the flashback becomes Menou’s mentor.
By now, you get the idea. This is a series that wants to very seriously examine the underlying assumptions of the isekai power fantasy. But the question naturally becomes; once it breaks the genre down, what does it intend to rebuild it into? And in the answer to that question we will find Executioner’s long-term success or failure.
There is always a temptation to refer to things like this as “deconstructions” of the genres they, at least in part, are built to criticize the foundations of. I do not use that word in my writing–not without heavy couching, at the very least–but to me this series does seem to aspire to a certain casual definition of the term. I said before that Executioner feels like it was written by someone who hates isekai, but it’s totally possible that the very opposite is true. Rarely is it easier to see the faults within a genre than when you’re a huge fan of it, and lest we forget, it absolutely is possible to still use this story format for interesting, compelling ends. (Not for nothing was Princess Connect! Re:Dive my favorite anime of last season.)
At the very least, Executioner seems allergic to easy outs. In addition to our protagonist’s own judgment of her morality, the task she’s sent upon at episode’s end involves seeking out another Lost One, who seems suspiciously evocative of the girl from her dreams. (And who herself dreamed of the other world before arriving there.) The question then becomes, obviously, how hardline she’s willing to be, and what Executioner can do with whatever the result is. The episode ends on this cold confrontation, questions hanging in the air with answers far off and out of sight.
Personally, I’m absolutely fascinated by this series. (Its devastatingly kickass OP helps, too.) But I will admit that I’m something of a genre outsider. So for any true isekai fans who happen to read this, I’d be interested to see what such might think of it.
As for everyone else? It’s been a strong season already, but there’s something special about this one, I can feel it.
The Takeaway: Unless you’re simply averse to the very premise, I’d give Executioner at least a few episodes. For some of you, the mere fact of seeing Cute Anime Girls go all stone-cold killer might be enough of a draw. And hey, if that’s so, no judgment from me.
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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.
“This world was not made for us. But I understand now that it’s the only one we have.”
For most here in the west, the history of Toei‘s forays into the magical girl genre begins with Sailor Moon, a monstrously successful franchise that is widely beloved to this day. If they know a little more, it ends with Pretty Cure, another monstrously successful franchise that is widely beloved to this day. Those with a still more slightly expansive knowledge of the company’s history might also be aware of Ojomajo Doremi, a marginally less successful franchise that is still beloved enough that it spawned a sort of distant sequel film, Looking for Magical Doremi, as recently as 2020, a full fifteen years after its original conclusion. Those who particularly care about the genre might point out that they’ve made all sorts of magical girl anime over the years, including Himitsu no Akko-chan, one of the very first. Regardless, all of these anime get their flowers from those in the know, and none could rightly be called overlooked by anyone with a decent knowledge of the medium.
But the same is not true for every magical girl series they’ve made.
The year is 2006. Futari wa Pretty Cure has just ended its second and final proper season. Alongside Splash Star, a reboot of the Precure IP, Toei launches a second action-oriented magical girl offering; Flower Princess Blaze!!
Time and the language barrier have rendered this decision obscure and puzzling, but in the moment, it must’ve made sense. Splash Star was the “safe bet”, essentially a retuning of the original Pretty Cure concept. Blaze was the wildcard; stranger, more experimental, and airing a bit later in the day. (Perhaps aiming for a slightly older audience–the 10-14 demo, perhaps–than Pretty Cure and its predecessor Doremi did.)
Splash Star has proven divisive over the longview of history, but in the moment, it absolutely crushed its younger sibling in terms of popularity and sales. Flower Princess Blaze did not do badly; it pulled decent ratings and sold decent amounts of tie-in merchandise. But it was nowhere near as successful as Precure, and “decent” only goes so far. That is perhaps why, when its second “season” concluded in late 2008, the IP was shelved.
(Technically, when airing, the show was split into two “seasons” which aired back-to-back with only a short break between them, Flower Princess Blaze and Flower Princess Blaze!!–yes, the exclamation points are the only difference in title–but the distinction is minimal, and the few later releases of the series haven’t made it, applying the second title to the series on the whole and treating its combined 126 episodes as a single, sprawling saga. The only place I’m aware of that still draws a line between the two is Wikipedia.)
To this end, Toei evidently decided their grand experiment had failed, and cut back to just one girls’ anime. Pretty Cure soldiered on and continued to be insanely popular, but its shadowy younger sister disappeared like a thief in the night, never to be heard from again.
Despite this, Flower Princess Blaze has proven to be quietly influential, with a diverse array of artists and industry figures both within the anime medium and without citing it as an inspiration. Puella Magi Madoka Magica‘s soul gems were taken directly from this series in all but name. And not one but two Pretty Cure seasons–Heartcatchand Happiness Charge–would later make fairly obvious homages to some of its villains.
Even outside the specific lineage of Toei magical girl anime, there are nods in works separated by space, time, and even medium; Steven Universe‘s Gem Homeworld draws on the Midnight Kingdom for architectural inspiration, Wish Upon the Pleiades xeroxes its finale outright, Anime-Gataris features the show’s real-life director as an in-show character. Most recently, and perhaps most famously, My Dress-Up Darling licensed the name and worked actual footage from the series into its own plot, giving lead girl Marin a fixation on secondary villain (and fan favorite) Black Robelia, (rendered “Lobelia” in that show’s official subs) whom she cosplays in several episodes.
And yet, in spite of the shadow it casts over the past 15 years of the magical girl genre, the series remains fairly obscure, especially in the west. Well, I’m not naïve enough to think I can change that on my own, but perhaps this, combined with the renewed interest from MDUD’s cameos, can help a little bit. Today, we dive into one of the strangest magical girl sagas of all time. Wilted flowers and shattered crystals. A hundred worlds in peril and the six girls who’ll save them. Midnight cities and a battle at the end of the universe. This is Flower Princess Blaze.
It starts out so simply. We follow two girls; one of them, Mirai Tengeji / Princess Daisy (Sakura Tange), cast in the then-young but already-typical mold of the upbeat, peppy lead magical girl. She has her foibles (the most obvious of which being her comically rough manner of speaking), but she is certainly what we’d now recognize as the most “typical” of Blaze‘s characters. With a minimal amount of tweaking, she’d fit right in with any given Pretty Cure season.
But she’s not the real main character, not really. Much of the show instead centers on her rival–then friend, then rival, then friend again–Shion Nikaido / Princess Lily (Rumi Shishido). Some context: it’s established before too long that the Midnight Kingdom, the requisite baddies-of-the-week, both a group and the physical place they hail from, form when ordinary people fall into despair, that word that translated anime love to use as a catch-all for negative emotional states. That’s not a background detail; each and every episode features someone, whether it’s a minor one-off character or one far more important, joining the Midnight Kingdom. Sometimes they’re rescued by episode’s end, but it’s far from a sure thing. As such, even early on, Flower Princess Blaze operates with a level of intensity and tension very rare for children’s anime.
At the climax of the series’ first major arc, Shion, learns that her own sister (and former comrade) Neon, (Houko Kuwashima) joined the Kingdom’s ranks after abandoning her position as the Flower Princess Hydrangea.
The revelation that Neon and Black Robelia are the same person remains one of the show’s most iconic twists, eventually fully elucidated in flashback, as does the ensuing scene. Hints peppered throughout the show’s first cour that Shion and Neon are not blood related come to a head here, where Robelia lays out her motivations plainly. People look down on them for their familial situation, she feels like a burden on her parents, she basically flat-out says she wants to die. She’s sick of the world and wants to burn it to the ground. (Her heartbreak over teenage crush Soma probably didn’t help either. Although I think some reads of the character over-emphasize that point.) But this scene is illustrative for another reason; in most magical girl anime, at least those aimed at a young audience, this is not a point of view that would be given any serious credence. There’d be a rebuttal, Shion would assure Neon that people really do love her, something.
But earlier in the episode, Mirai tried that on Shion, and the two had a (comparatively rare for the genre) mahou-on-mahou scuffle. It’s perhaps for that reason that Black Robelia’s speech is so effective that Shion actually defects too. Her flower crystal goes black, and the Midnight Kingdom gains another soldier. This sets up a pattern that recurs three more times over the remainder of the anime, until Mirai is eventually the only Flower Princess still standing. (Not for nothing is Flower Princess Blaze one of the few magical girl anime I can name where the bad guys are also given henshin sequences.)
One of the reasons that the late-series development of all the Princesses eventually shaking off this evil influence feels so well-earned is that we know why they felt this way to begin with. It’s the old adage; no man is an island. Or, well, no little girl in this case.
There’s a lot of good in this show, and much I haven’t mentioned (the other three Flower Princesses; Anemone, Azalea, and Rose, all get solid character arcs as well.) But that’s not to say the series is flawless. Something that Dress-Up Darling lightly pokes fun at when discussing the show is that it’s 126 episodes long. By the standards of the day, that probably didn’t seem unreasonable. For many modern anime fans, however, it’s untenably long, not helped here by the fact that Blaze is a victim of the same spotty visual consistency as any anime of that length. (Plenty of episodes look great, but plenty of others look…well, less than great.) It’s also the only magical girl anime I’ve ever seen with a form of Dragonball Z‘s fight length problem. There are a few encounters in the series that take up entire episodes or even several episodes in a row, and while that certainly does make them feel suitably epic, it can make a few stretches of the show feel oddly empty, too.
Not helping matters is the fact that the show’s main big bad, The Wilt Princess Spiderlily (Minami Takayama), does not appear at all until episode 60. She does not appear in person until almost 20 episodes later, in episode 78. There is a fair amount of running around, here. Adding to this is that while the defection of one of the Flower Princesses to the Midnight Kingdom is shocking the first time, it does become a bit predictable by the time Rose, the last of them, falls to the darkness. Although Blaze doing the whole “adding magical girls to the team as the show goes on” bit in reverse is certainly not something I’ve seen before or since, and Mirai’s few episodes totally alone are suitably harrowing.
This all said, even in its less substantial stretches, there’s a lot to appreciate. The surreal atmosphere of the Midnight Kingdom itself, which our protagonists eventually visit–as well as the surrounding Land of Sadness–is just wonderful. In the second half of the series, Mirai and the remaining princesses leap across a good dozen different worlds when the Earth itself becomes too inundated with negative magic for them to stay.
At show’s end, The Princesses are eventually turned back to the side of good, in some of the show’s best episodes. There is of course a magical doodad, the Miracle Seed, which they assemble. Reunited, they’re faced with a choice. Spiderlily lays it out for them plain; they can destroy her with the artifact and end the threat of the Midnight Kingdom forever, but if they do, they’ll be sent back in time. From our perspective, just before the very first episode. Their memories will not stay, and they’ll forget all the times they’ve had together. A square-one reset, like the whole thing never happened.
Of course, none of them hesitate, and we are treated to a shockingly rough scene where Spiderlily dissolves into red smoke as the girls’ memories are literally ripped from their heads. Time rewinds, and for 5 of the last episode’s final 15 minutes it really does seem like we just watched the entire series be undone in an instant. We soon learn one person does remember, Mirai, whose companion is the only one who seems to have survived the time reset. The exchange that follows, as Mirai breaks into tears and her fairy tries to comfort her, is one of the most eerily prescient in animation history, given the series’ obscurity. Especially the mention to the now ex-magical girl that even if no one else remembers their adventures, they still happened. Forgetting does not undo the work they’ve done.
Of course, both within the show and without, it turns out that people do remember. There’s a brief timeskip to the following day, and Mirai’s interactions with Shion are cold until she lets slip a small detail from their now-past lives. At this, Shion’s demeanor changes in an instant, and the two break into happy tears. The montage that follows weaves some adorably fluffy nonsense about how the strength of one’s heart means that true friends never forget each other. It’s a sweet, and surprisingly simple, end to one of the wildest rides in mahou shoujo history.
After its conclusion, the Flower Princess Blaze IP, as mentioned, was shelved. Enigmatic director Ryusei Nakao (no relation to the voice actor of the same name) had an apparently acrimonious (sources differ) break with Toei over this fact and dropped out of the industry entirely. It’s unfortunate, since Nakao’s distinct style does lend an unreal air to the show, especially with regard to the surreal liminality of the Land of Sadness episodes. Most other staff on the project went on to other things, largely much more successful than FPB had been. (Some, including character designer Yoshihiko Umakoshi, already known for his work on Doremi, would even work on later Pretty Cure seasons. Heartcatch in his case) Even with regard to the director, if he was only going to make one project, this is a hell of a legacy to leave.
Flower Princess Blaze has had a particularly bizarre half-life, not just for its genre but anime in general. Comparable in some respects to other non-Sailor Moon, non-Precure magical girl anime of the time period and slightly before. The main difference of course, is that there aren’t any fingerprints from Cosmic Baton Girl Comet-san or such on Steven Universe and whatnot. FPB’s legacy is paradoxical; forgotten by most but embedded into the very DNA of many far more successful anime.
There is one famous example, in particular.
I have heard it claimed that Homura Akemi is directly patterned after Shion. (The show’s TVTropes page once called her an “expy,” site slang for a copycat character, until some roving Madoka fan removed the line, and to be fair, not without reason.) There are definitely parallels to be drawn between Shion’s quest to save her sister and Homura’s to save Madoka. There are important differences here, though (for one thing, Shion is only subjected to a time loop once, and it’s along with everyone else. Shion also fails pretty early on but unambiguously succeeds once she becomes the first Princess to return to the side of good. A very different structure than Homura’s story), and it’s important to not confuse influence with rote copying, but it’s hard not to see at least a faint resemblance. One can definitely see many traces of Flower Princess in Madoka in terms of mood and atmosphere as well, and the bizarre “Deep Wilt” creatures that the Princesses encounter later in their adventures are almost certainly one inspiration for the Witches. It’s an askew influence, and not purely 1 to 1, as some other anime bloggers with too much time on their hands have previously argued, but it is definitely there, and it continues to be a source of contention.
I would say that if Flower Princess Blaze really did inspire even some part of Madoka Magica (and it seems unlikely, all told, that it didn’t), that casts its shadow even wider, including to relatively recent fare like Wonder Egg Priority and Blue Reflection Ray.
But to an extent, the ongoing debate over its impact muddles a simpler truth. Even if FPB had inspired absolutely nothing, it would still be a damn good show. I said earlier that Flower Princess Blaze is obscure, and that’s true in the grand scheme of things, but it’s never really gone away either. In the late 2000s and very early ’10s, it made messageboard rounds as a stock “hidden gem you have to see” recommendation, alongside anime such as RahXephon and Read or Die. (It helped that it was given an excellent fansub treatment by one-off group Mid-Nite Subs in 2010.) It’s managed to stick around in some corners of the internet, both domestically and abroad.
It’s a decent fanart magnet to this very day, and if you stick your ears to the walls of those anime forums that are still around, it’s said you can still hear Shion / Neon shippers (hmm) fighting with Shion / Soma shippers (also hmm). This is to say nothing of the aforementioned cameos in Dress-Up Darling, which have reignited fan interest even further. (It’s worth noting that because of the MDUD dub, Mirai, Shion and Neon are the only three Princesses to have official English voice actresses; Luci Christian, Monica Rial and the ever-underrated Jamie Marchi respectively.)
Maybe, to cheesily echo Robelia’s famous quote moments before she returned to her true form, this world just wasn’t made for Flower Princess Blaze. But it’s become a part of it anyway, and its impact on anime–as a medium and an artform–is an inarguable good. That counts for a lot.
Until we meet again, Princesses burning bright with hope.
“Lustrous flowers bloom bright from dark soil. I believe that we, too, will live on in a way.”
Like what you’re reading? Unfortunately, the anime you just read about does not exist, and this post constitutes an April Fool’s prank of truly stupid proportions. Seriously, you have no idea how long it took to write all this and make it feel semi-believable, and that’s with me fudging a few details, like its alleged air-hour. Anyway, if you want to see me write in terms this grandiloquently pretentious about actual, real anime, (such as My Dress-Up Darling, where Flower Princess Blaze originated and which I covered week by week). 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 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. I don’t plan to do this again next year, but no promises. I figure, if you can’t laugh at yourself once in a while, what’s the point of even having a job this silly? PS: The joke is not that this anime doesn’t exist. It’s that I just made you read a fanfic formatted like a review.
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.
Have you ever thought to yourself; “what if classical Chinese military strategist Zhuge Kongming was transported through time to the present day and became an idol manager?” Well, if you have, then you’re a very strange person. Or you’re the original writer of Ya Boy Kongming! One or the other.
Anime as a medium is sometimes underrated (or occasionally, even ridiculed) in its ability to just casually roll with absurd elevator-pitch concepts. A legend of East Asian military strategy as the manager for a modern-day pop singer? Sure, why not. It should surprise no one that the “mechanics” of how Kongming (Ryoutarou Okiayu) ends up in modern Japan are pretty vague and are glossed through briskly in the show’s opening minutes. There’s something about a dying wish for “a life without bloodshed” in his next life, but beyond that it isn’t elaborated upon much. That’s just fine, because Ya Boy Kongming! is primarily a comedy, and when it does dip into other modes it has the good sense to only touch very briefly on how the whole Samurai Jack-ian “flung into the future” thing works. There are other things to be focused on here.
Instead, he wakes up in a random alley in modern Japan during a Halloween celebration. A pair of randos drag him to a club, where one of them makes him drink some tequila. He then comes to the obvious conclusion; he’s in Hell.
It will shock you, I’m sure, to learn that I–a professional anime critic–am not really the clubbing type.
But then, he hears the voice of an angel in this clamorous and disorienting place. That voice belongs to Eiko Tsukimi (Kaede Hondo when speaking, 96Neko when singing), who quickly establishes herself as Kongming’s co-protagonist.
She ends up taking him home because he gets blackout drunk. (This is kind of crazy, if you ask me, and she seems to think so too; muttering to herself that she “must be a saint.”) The following day, she–somewhat reluctantly–helps him adjust to the modern world, all the while still being mostly convinced that he’s just a guy who’s gotten way too into method acting. (Everyone seems to think this, in fact, including Eiko’s boss, who ends up hiring him because he, too, is a Three Kingdoms-era history nerd.)
This is all pretty funny, and Kongming goes from totally lost about present-day society to reasonably able to navigate his way around a smartphone in surprisingly short order. (A joke in here even implies that he learns about cryptocurrency. Truly a terrifying thought.)
Given all this, one might reasonably assume that Kongming! is purely a screwball comedy. But while the series is definitely funny, it’s not only funny, and the fact that it understands that having a beating heart under the gags is important speaks to a certain consideration of its own goals that isn’t ever a given with anime. (Or for that matter, art in general.) The turn begins when Eiko sings a song in her bedroom, seemingly as much for herself as to comfort Kongming. (Who is, understandably, a bit blue over, you know, everyone he knows and loves having been dead for almost 2,000 years, his country having long since fallen, etc.) Eiko has a seriously powerful voice, and the fact that she’s such a good singer is hugely important here, because Kongming!, remember, is also an idol anime.
Eiko’s whole situation is given as much focus as Kongming’s own unusual circumstances. She’s a bartender and sometimes-club singer. And while her boss is a decent guy in his own way, the job itself seems pretty dead-end. This, and the fact that she keeps failing auditions, makes her consider quitting music altogether. When Kongming asks what drew her to music in the first place, we get a pretty damn bleak flashback to her high school years. The short version; she was nearly a train-jumper, until the man who’s now her boss literally grabbed her out of the way. Taking her to his club to perhaps jolt her out of the whole idea, Eiko is moved by an American guest singer’s performance. This whole idea; that music can sometimes quite literally save people, is at the very core of the idol genre, and snaps Kongming! pretty firmly into place within said genre’s modern zeitgeist.
Plus, on a basic level, all this helps Eiko feel like an actual co-protagonist instead of a backup character. But more importantly, it nails down the show’s stakes. Kongming! appears to want to be both a goofy comedy with a casually fantastical premise and a heartfelt story of a struggling musician trying to succeed in a difficult industry. That’s a hard line to tow, but at least one other idol anime in recent memory managed it. If it worked once, what’s to stop it from working again? The show’s general character helps a lot, too. In both more lighthearted and comparatively serious moments, it has a vibrancy to it that’s easy to take for granted but should always be properly appreciated when it’s there.
The episode ends with Kongming convincing Eiko to keep at it–though by phrasing it that way I’m way underselling the scene, which is legitimately heartwarming–and offering her “his services.” What services? Why, just the finest military mind of Chinese Antiquity. Turned toward helping her make it as a musician, naturally.
Grade: B+ The Takeaway: While the apparently history nerd-baiting nature of its premise may scare some off, this is a show with a huge amount of potential, and fans of “music stories” like this should definitely check this one out.
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 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!
Well folks, here we are. I always meet the end of each season with a certain air of cleaning out the cobwebs. Maybe that just speaks to my impatience and love of novelty (after all, the many shows that will come out next season remain nothing but a sparkle of infinite possibility until they actually air.) Still, more than usual, I am glad to put this one in the books. I haven’t started watching episode twelve of Sabikui Bisco as I type this, but the show has not exactly wowed me over the last third or so of its run, and whatever I end up thinking of the finale, I can’t really change that. On the other hand, I don’t want to go into it with clouded eyes, either. Judging something before I watch it is bad form.
Without further ado then, let’s hop on the crab and find out; can Sabikui Bisco nail the landing, totally saving the show just in the nick of time?
Well, in short, no. But! It does make a pretty good show of trying, and that counts for something.
The actual plot here is dead simple. Bisco, in revived-mushroom-super-saiyan form (reborn “as a god” I believe is how Jabi puts it) has to take down Kurokawa. Who, we here find out, has not turned into the Tetsujin giant so much as he’s “piloting” it. And when Bisco can take down the Tetsujin’s armored form we’ve been following for the past few episodes in just a couple shots, surprise, it has a second form. Tirol helpfully explains that they can’t just kill it while it’s like this, because if they do it’ll self-destruct and take out nearby Imihama along with it. So the only solution? Taking out the pilot.
Our heroes’ plan to do this is also pretty straightforward. Step 1. Have Pawoo break the giant’s helmet with her pole. Step 2. Have Bisco snipe Kurokawa’s sort-of still alive body from the head of the giant. The show spices this up in a few ways; mostly by giving everyone some delightful banter. Pawoo in particular shows a lot of personality here. She also starts gunning pretty damn aggressively for Bisco! Which, me being me, you might assume I’d complain about. But honestly, “warrior woman who aggressively steals a kiss from the guy she’s into” is about the only way they’ve depicted Pawoo that actually makes the pairing make some sense. (And hey, he does offer her “anything she wants” if she comes back alive.) This is the most chemistry they’ve ever had. It only took, you know, 11 and a half episodes.
She even brags about it to Bisco’s surrogate dad afterwards! I would’ve liked to see more of this brash, charmingly arrogant side of Pawoo. It’s unfortunate that we didn’t get to.
The actual execution of the plan goes from A to B to C so quickly that it almost feels perfunctory. Pawoo bonks the giant, the giant’s mask breaks, revealing just how ugly the damn thing actually is.
It’s like if you tried to sculpt an ugly infant from cherry Jell-o.
Kurokawa and Bisco get into it a little bit, and then Milo once again overtakes his sister in the “getting with Bisco” department as he helps Bisco line up the all-important pilot snipe. The power of homoeroticism saves the day, and Kurokawa goes down in one.
And that’s honestly kind of it! We do get some additional stuff throughout the remainder of the episode. Bisco and Milo get a nice moment where they just chill on the bed of giant mushrooms that’s sprung up in the wake of the battle, and the last 10-ish minutes of the episode are a montage showing everyone’s rust infections being cured. (Bisco is now 100% Rust-Eater Mushroom by volume. How does that work? How does anything in a shonen work! Who cares?) This includes Pawoo! Who looked beautiful with her rust scarring and looks just as beautiful without it.
There’s a timeskip, and sometime later we get a fun closing scene where Bisco has to once again pass through the government gate from episode one, this time with Milo in tow. I’m fond of this whole bit, especially Milo also getting a wanted poster where he’s branded the “Man-Eating Panda.” Oh, and the very last interesting worldbuilding tidbit is something we see via a TV. Imihama has a new, political firebrand of a governor who’s done radical things like condemn the persecution of the mushroom-keepers and even declared independence from whatever’s left of the Japanese government. That governor? Pawoo, who–and you’ll have to forgive me here–looks fine as hell in a suit.
And on that victory for WLW everywhere, Sabikui Bisco ends. I didn’t dislike this episode, but from basically every perspective it really felt to me like the show started running out of steam by its end. And as nice as some parts of this episode were, it didn’t really change that. I have rarely seen a series so thoroughly tie up its own premise by the end of its first season. Even many original anime leave a bit more to the imagination than this. One could call that a strength, I guess, but to me it mostly feels weird. Especially since there actually is a sequel to the manga.
We do get one hook here, aside from Imihama’s independence–and I imagine it’s what said manga follows up on–Bisco is now immortal because of his mushroom-fueled resurrection godhood whatever. He doesn’t really like that, and it’s on the note of trying to cure this particular condition that the story ends. So there clearly is some space for the story to continue, should Sabikui Bisco have done well enough to warrant that. Even so, we’re a far cry from where we were back in episode one, and while I always try to judge anime based on what they are, and not what they could’ve been, a part of me does miss the neon-streaked nocturnal urban ambience of the premiere. And on a different note entirely, the smaller-scale character-focused episodes that followed it.
There’s also the issue of this episode’s somewhat inconsistent art. There’s some stuff that looks really great, like when we see Bisco’s resurrection from his perspective in the episode’s opening minutes.
But a lot of the character art is spotty, and it brings down an otherwise solid finale somewhat. Even so, as a decent finish to a decent show, “Bow and Arrow Duo” does its job just fine. (And boy, am I conscious of the fact that I’m yo-yoing between positive and negative opinions a lot in this article.) The series’ final shot is a framed picture of Milo and Bisco, and I think that’s a nice image to end on.
And ordinarily, dear readers, this is where I’d tell you I’ll see you next season. That’s true as far as the Let’s Watch columns go. (I won’t even be announcing the winner of the Community Choice poll until this coming Saturday in the weekly Frontline Report column.) But the first show of what looks to be a very busy season actually premieres tomorrow. So, with that in mind, I’ll see you then, anime fans.
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 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.
Hi folks, simple writeups this week, nothing too fancy. But I hope you’ll enjoy them as one of our recurring anime comes to a close and another heads there at a mile a minute. But first–
Seasonal Anime
Miss KUROITSU From the Monster Development Department
Miss Kuroitsu probably isn’t quite consistent enough to be called a seasonal underdog, but damn if it doesn’t sometimes come close. This past week’s episode is the beautiful little fable of a mute monster girl filled with weapons (named Mumy and played by singer YURiKA) who wants nothing more than to become an idol. The general idea is hackneyed, and the episode looks like ass. Did I tear up multiple times throughout anyway just because the show got me so attached to this girl? Yes I did. Did I have to actively stop myself from crying even more at the end of the episode where a combination of vampire bioengineering and sheer fucking moxie means she’s miraculously grown a voicebox and developed a beautiful singing voice? Yes I absolutely did.
What else can be said? Sometimes even a benchwarmer bats a home run.
Princess Connect! Re:Dive Season 2
I wish people still sincerely called things “epic.” I can’t think of a word that better fits the blazing spectacle that Princess Connect has transmogrified to as it enters the final stretch of its second season.
To get something out of the way; in previous articles where I’ve discussed Priconne, I’ve made a point of entertaining alternate points of view. The show is widely liked, but not universally liked, and while I do still respect everyone’s rights to hold their own opinion, I think the time for trying to specifically acknowledge criticisms that others might have has passed. If you object to rapturous praise for stuff like this, you’re on the wrong site. Sorry.
“Stuff like this,” if you need to be brought up to speed, is an absolutely shameless blind-fire of the Proper Noun Machine Gun, mixed with what is certainly some of the flashiest animation of the year so far. (Priconne is good at that.) We get some new characters here (and a few old ones make return appearances), and a good chunk of the episode consists of a guild–a guild who seem to have some knowledge of how the world of Princess Connect really works–fighting against Christina, another of the Seven Crowns and Omniscient Kaiser’s sort-of lackey, below Kaiser’s palace.
This is, in a word, awesome. New arrivals Ruka (Rina Sato) and Anna (Asami Takano) attack Christina with Anna’s Final Catastrophe attack. Ah, but of course, Christina is one of the Seven Crowns, so her passive ability Absolute Defense renders her immune to normal damage.
But that too can be overcome by simply overloading the ability’s computational capacity–a kind of VRMMO underflow error–but then it turns out that Christina secretly also has access to Absolute Offense, which fires glowing beams that invert the world’s colors. They eventually subdue her…only for the secret true form of Omniscient Kaiser to emerge from the very thing they were fighting over! All of this is deeply ridiculous, but it’s a total blast. Anna in particular is really fun, being perhaps the most chuuni chuunibyou I’ve seen in any anime in years.
Alongside this is Pecorine’s fight to save Karyl. Impeded here by the return of Jun–the blindfold-wearing knight we were introduced to several episodes ago–but now she is, of course, brainwashed by Kaiser and in full battle armor. The two prove a solid match for each other, although it says a lot that this is actually the more restrained of Priconne’s two battle scenes in this episode.
Eventually, Pecorine is able to break Kaiser’s hold on Jun, and the two turn the tables against the evil wolf-woman and kill her. Except they don’t actually, because of the aforementioned hidden true form of Omniscient Kaiser lurking beneath Kaiser’s palace. The form that they’ve been fighting this entire time? Merely a particularly strong-willed shadow. It has a very hammy death, and it’s not gone for ten seconds before the real Kaiser starts tossing Pecorine and Jun around like ragdolls with a wag of her finger. (As a side note, Kaiser’s actor Shouta Aoi deserves some praise here. He has a reputation for voicing dangerous women, and he is indeed very good at that, but he can also holler like a motherfucker when the scene calls for it, and he uses that skill several times in this episode.)
As you can surmise from the appearance of credits over this final scene, this, and the cut immediately after where Yuki finally arrives, is the end of the episode. But we should back up a bit, because one more thing of import does happen in between all the flashy sword-clanking.
Kokkoro, in about the middle of the episode, is spirited away by the Ameth, that mysterious girl with the broken clockwork floating around her who, like Labyrista, seems to have been instrumental in controlling the world. Regardless of the specifics of her, though, what she gives to Kokkoro is important; a small device for “keeping Yuuki’s emotions in check.” Ostensibly to keep him from overloading his powers and hurting himself. It’s an odd turn of events, and seems to imply that maybe Ameth isn’t entirely on the level, either.
The season finale approaches, so perhaps we’ll get some answers there. Or at least, more intriguing questions.
Ranking of Kings
“Shine on toward a yet-unseen tomorrow.”
Ousama Ranking‘s finale begins thusly; Daida reaffirms his (puzzling, though given the vaguely medieval-ish setting perhaps slightly less so) decision to marry Miranjo, swearing that the both of them will turn over a new leaf and concentrate on doing good in the world. At the same time, he relinquishes the throne, and all of Bojji’s retainers hail him as the new king; the scene is a happy one, with all present praising Bojji’s bravery and strength of character. There’s much celebration, and King Bojji’s new subjects quite literally toss him into the air with joy, and later take him to his new throne room so he can receive formal homage from the townsfolk. It’s very classic fairy tale. There are a lot of happy tears. So, we’re all good, right? Happy endings all around.
Well, no, not quite.
Not present among Bojji’s gaggle of retainers is Kage. The shadow clansman rationalizes that the young king no longer needs him–and that his own reliance on the boy is bad–and leaves silently, seeking honest work in the same nearby town he used to make his way as a thief in. He ends up miserable there, of course, as the townsfolk haven’t really changed. No one wants to hire him for honest work, and when he sets up a small wooden hut outside of town someone destroys it.
Meanwhile, Bojji, too, is lost without his best friend. He seems like a fine king based on what little we see, but his heart clearly isn’t in it. Fittingly, it’s Queen Hiling (now Queen-Mother Hiling, one supposes) who picks up on this. In a cozy bit of motherly wisdom, she tells him that being a king is his responsibility, but if there is something that truly matters to him more, he should go seek that instead.
Bojji, thus, ends his brief reign by re-relinquishing (delinquishing?) his crown to Prince Daida. Making for, I’m sure, a fun footnote in their kingdom’s history some hundreds of years down the line.
Bojji sets out to find Kage the very day, and they meet up again not long later. He reveals to Kage his secret ambition; to someday found his own kingdom, after having a great many adventures before then, of course.
As for what happened to King Desha at the end of last week’s episode? We don’t know, and perhaps we never will. Some mysteries remain even under the morning Sun.
Ousama Ranking is occasionally criticized–and I’ve made these criticisms myself–for its odd pacing and the plot’s tendency to drift all over the place. Even in this final episode there’s an aside that really doesn’t add anything at all, although it does look pretty cool. (Kingbo makes a surprise return appearance, splits the rock that Ouken is imprisoned in in half, and then decapitates him and chucks his head into a lake many miles away in the span of about 3 minutes.) But, while that is certainly a flaw, it’s not one that negates the show’s many strengths. In the end, Ousama Ranking boils back down to what made it great in the first place; Bojji, Kage, a bag of treasure, and the great, wide world stretching before them. The promise of more adventure on the horizon billows into the sky like smoke. If not now, it seems to say, then someday, somewhere.
Please vote on this if you care about what I’m going to be covering during the (rapidly approaching) next anime season. You’ve got a little under a week left to make your voice heard!
Sabikui Bisco continues to be Sabikui Bisco-y as it comes to a close. I kinda feel like I’ve run out of much to say about this show other than what’s already in the
Meanwhile, My Dress-Up Darling ends the only way it really could have, sweet nothings and fireworks. It doesn’t hold a candle to the very best fireworks-centric romcom finale in recent memory–that being a different show’s season one finale–but still, it’s a definite high point to go out on for a show that’s been something of a rocky ride. I hope the second season (and let’s be real, one is definitely getting made) is more like this than say, like episode six.
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 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!
Ladies, gentlemen, nonbinary folks of the jury, our long national wet dream is finally over. Yes, it’s been a long twelve weeks, but here we are, at the season finale of My Dress-Up Darling. Before we even talk about this episode at all, let’s go over some facts of the prior eleven. Some of MDUD’s episodes have beenspectacular, others have been pretty bad. This is an inconsistency not rare among anime or, honestly, among linear TV shows in general. Evaluating a run of episodes that includes both the former and the latter is difficult, especially since the “good episodes” aren’t entirely devoid of flaws and the “bad ones” aren’t entirely devoid of merits. Such are the limits of purely qualificative criticism.
One thing it has undeniably been, is successful, and while this is certainly the season finale I would not be at all surprised if the series were hastily renewed. An anime does not simply put an extra two million copies of its source material into circulation and not get a second turn at the plate. To argue that a second MDUD season is unlikely would be to argue that capitalist businesses aren’t actually that interested in making money. Things just don’t work that way. So, to put aside my own–and our own–collective biases for a minute, this is clearly a series that has connected with people in some way. Is it because Gojo is just really that relatable? Maybe it’s because something about Keisuke Shinohara‘s directorial style really resonates with The Youth. Or maybe people just want to wife Marin that badly. (Given the show’s target demo, probably at least some of that.) Maybe it’s all of these. But the point remains; MDUD is here, and it’s probably not going away any time soon. If you care about the current anime zeitgeist, it is at least worth consideration.
So, for the final time–at least for now–let us consider it. My Dress-Up Darling‘s 12th episode, its season finale, also called “My Dress-Up Darling”, begins with a heavy summer night hanging over Japan. A small breeze clinks a windchime as Gojo focuses on his first passion, dollmaking. He gets the sort of text that would send just about anybody–age, gender, whatever, aside–into a bit of a panic.
It is, of course, not actually that serious. She wants help with a costume thing and to vent about her dad not letting her go to a festival. Normal teenage girl stuff. Things happen, and our heroes end up A) working on summer homework and B) watching a scary movie. Also, somewhere in here Marin casually reveals that she has a side job as a model.
The horror movie itself is a real treat. We don’t see much of it, but, in keeping with MDUD’s prior visual ambition in this area, it’s animated totally differently from the rest of the series. The character designs are more grounded and realistic, and in general the visuals look like something out of the Boogiepop franchise. It’s pretty cool! Marin is scared witless by the film while Gojo nerds over costuming details, which, yeah, that sounds about right.
There are a lot of great character moments here, in fact. Gojo and Marin later end up needing to run to their high school to pick up some over-summer math homework that Marin left behind. (And, really, props to them, there. I don’t think you could’ve made me enter my high school over summer vacation if you put a gun to my head.) There’s a scene here where, after falling into a pool(!), Marin muses on how she loves going to the beach even though she can’t swim; to watch the Sun set and make the ocean’s surface sparkle, to talk with friends and eat tasty food. It’s a bit of quiet insight into her character that the show has done well a few times and I really hope it doesn’t let up on when the inevitable second season arrives.
Gojo gets his turn, too. He and Marin attend a festival after Marin finally does finish all her summer homework; one Gojo’s lived near for years but never actually gone to. There’s a lot of great stuff in this scene. Some of it, tropes that are so old to the genre that they’re practically cliche. Gojo is practically dumbstruck by seeing his love interest in a yukata, Marin buys way too much food, etc. But the one Dress-Up Darling works the best is probably the most classic. The fireworks go off; Gojo hears thunder and smells gunsmoke as a billion neon flowers bloom in the night sky. He spends more time looking at Marin than he does the actual show. Marin returns the favor by shattering the mood into a million pieces by goofily sticking out her tongue, which is a solid blue from the Blue Hawaii she’s been eating.
Is the moment actually ruined? Not really, Gojo has to carry her home. (Traditional sandals evidently do a number on your feet. I’ve never worn Japanese-style ones, but, that tracks with my experience with flip-flops.) And when Marin casually mentions being more careful with her footwear next year, when they go again, Gojo gets so hung up on the “next year” that the boy looks like he’s practically going to cry. It’s really sweet.
There’s an equally-sweet after-credits scene, where Gojo keeps Marin company over the phone after the latter makes the brilliant decision to watch the sequel to the horror movie they’d seen earlier. We don’t get a concrete sense of how long the two talk for, but it seems to be quite a while. At episode’s end, Marin tells a now-asleep Gojo that she loves him. Maudlin? Maybe. Heartwarming? Absolutely, and the visual of their two separate beds being stitched “together” by their phone call is really lovely.
The episode–and the season–ends with Marin wishing him a goodnight, and a promise to see him later.
A promise that might well extend to us, the viewers, as well. One can say a lot about Dress-Up Darling, most of which I already noted in the opening paragraphs of this column. But, the show definitely cares about its own characters, and that’s a good thing. I have my own hopes and expectations for the near-inevitable season two, but there will be time to write about those in a future column. MDUD will almost certainly return to the pages of Magic Planet Anime in some form or another. (Perhaps sooner than you think, even.)
For now, I think perhaps I should end this particular round of Let’s Watches the same way MDUD itself ended. To that, I say; goodnight, and see you later.
Egregious Horny Score: We’re at a tasteful 2/5 this week. Although some teenager is going to watch this and discover he has a thing for exposed necks. Pray for him.
Overall Egregious Horny Score: A solid 4/5. Frankly this was my biggest complaint with the show and probably a lot of other peoples’ as well, and I sort of regret waving the extraneous cheesecake that was present early on off in the way that I did. Oh well.
And finally, by far the most important of these little mini-entries, returning for the finale is the Bonus Nowa Screencap. Let’s hope we get more Nowa in season two. If we can’t get an authorized Flower Princess Blaze spinoff I at least want Nowa: The Anime. I would take that as a consolation prize.
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 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.
It’s getting to be that time again, folks! Spring has sprung, and the time for a new Magic Planet Community Choice pick is here.
If you were here toward the tail end of last year, you already know the drill and can safely skip down to the poll link. If not, let me briefly explain for any newcomers how the Community Vote poll works. It’s quite simple.
Essentially, each season I (currently) cover two anime on Let’s Watch. One I pick myself, and a second show, that y’all pick. This past season that show was My Dress-Up Darling, which absolutely crushed that season’s community pick poll. I suspect this season will be a closer race, given the many highly anticipated anime coming out this season. (If you need a primer on what’s dropping, I suggest hopping over to Anichart.net and taking some time to poke around. Who knows, it might change your vote even if you do know some of what’s coming out!)
You may note that there are a few notable omissions (with one show in particular I’m sure people will be surprised to not see there.) There are three reasons I don’t add a series as a poll option even if it’s coming out.
It’s a sequel to an anime I haven’t seen.
It’s in “streaming jail”, which makes covering it week-by-week impractical.
I am planning to cover it anyway.
In any case, that’s basically all there is to say on the matter, so without further ado; here’s the poll. It’s a very simple checklist-style thing. Some important notes: the poll is organized in alphabetical order, by romaji title (which is how Anichart.net presents them), with a localized English title, if known, after a slash. Also, you can vote for as many shows as you want. So please don’t be afraid to really spread your votes out as you see fit.
I look forward to going over your responses over the next 10 or so days. Until then, anime fans!
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 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!
There is a moment near the halfway point of “I’m Bisco”–Sabikui Bisco‘s penultimate episode–where the hookers from episode one show up again. It’s little more than a cameo; the populace of Imihama watching Milo and the Kurokawa-Tetsujin duking it out in the wastelands outside their city with bated breath.
But in that moment, I was led to think about how the show has grown and changed over these eleven weeks. What started as a post-apocalyptic mushroompunk (is that a word? It is now) tale of intrigue in a near-future city morphed into a traveler story and then, as it entered its final act, a much more traditional shonen, with Imihama Governor Kurokawa playing the role of the stock evil villain. (A role that, admittedly, suited him very well.) Now, Bisco is in its final stages, and has boiled down largely to its climactic final fight between Milo and the Kurokawa-Tetsujin. It’s not the ending I would’ve picked for the series, but that’s only marginally relevant when the time comes to discuss it. In the framework of what it’s trying to do, does Sabikui Bisco’s final act succeed? That is the question we should be asking ourselves as the series draws to a close.
Well, it’s not a total washout. But I think the fact that “it’s not a total washout” is the most positive descriptor I can muster speaks volumes. “I’m Bisco!” is divided roughly into two parts; the first involving the Kurokawa-Tetsujin attacking the Children’s Fortress from the episode of the same name. We do get some cool returning characters here; chiefly the town’s chieftain / leader / whatever term you’d care to use Nuts. Who I must confess, I forgot was called Nuts. What a great name.
He gets a fun little turn here where he covers for the other kids under his care, distracting the Kurokawa-Tetsujin as they flee the town. Milo shows up to properly give the thing a challenge not long after, of course, but it’s still a solid little interlude.
The second part of the episode is Milo’s challenge against the Kurokawa-Tetsujin proper, after a brief respite in the middle where he has to protect Pawoo, Tirol, and Jabi from the creature’s hitherto-unused main cannon, a massive weapon the fires appropriately huge blasts of Rust wind. This is where the cameo from the hookers (and several other Imihama citizens, all also from the first episode) comes in.
And it is nice to see our protagonist’s heroics being appreciated, although the actual fight choreography and such here is oddly workmanlike compared to last week’s.
The episode ends with Milo nearly getting killed after managing to get on top of the Kurokawa-Tetsujin and carve up part of its noggin with a knife. After doing so, he briefly (and mistakenly!) thinks the creature is dead, and takes the time to mourn Bisco when he finds the latter’s goggles embedded in its weird gelatin-y flesh. He nearly gets squashed for his trouble as the Tetsujin wakes back up, but he barely has time to process being smacked across half a city block by the monster before we get to this episode’s final revelation.
Surprise! Bisco wasn’t dead after all.
Yeah, I don’t know how I feel about this. Like superheroes, it’s fairly rare for a shonen protagonist to actually die and stay dead. (Goku alone has gone back and forth to and from the afterlife so often that he probably has a second house there by now.) But Bisco was incinerated in a pit of lava. Once you’ve established a character can survive that, any attempt at further raising of stakes just feels inherently hollow. Also Bisco’s right arm is all red and glow-y now, who knows what that’s about.
If this all feels a bit anticlimactic in the retelling, it’s moreso to actually watch. I said a few weeks ago that Sabikui Bisco falls apart when it’s forced to deal with large-scale dramatic stakes and I’ve yet to be proven wrong about that. This entire “Bisco lives on within Milo” subplot we’ve had running since the former initially died is rendered moot by his return. And while the Kurokawa-Tetsujin is a cool foe in a video game enemy kind of way, the knockoff Titan is not exactly the most compelling narrative force.
As a final, and I admit, deeply petty complaint, Pawoo once again gets about a minute total of actual fighting screentime before spending the rest of the episode worried about her brother and/or being protected by him from Rust-wind-laser-whatever attacks.
And also complaining about how slow trucks are.
So, yeah, part of me does feel like the show is basically fizzling away into seafoam as it ends. I wasn’t bored while watching the episode, and I don’t want to give that impression, but it was hard to care about anything that happened on a stickier narrative level, and that’s a pretty big problem, given that we’re now heading into the finale.
Will episode 12 make up for episode 11’s shortcomings? Will I ever figure out a more compelling format to end these columns in? Only one way to find out, anime fans! Until next time.
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 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.
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