Tag: japan

Appleseed XIII: Tartaros and Ouranos

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★½
“A Herculean labour to get through”

These two features, Tartaros and Ouranos, are an edited-down version of the Appleseed XIII series. This consisted of 13 episodes, each 22 minutes long, with their release beginning in June 2011 and running through the following January. Obviously, if you do the math, you can see that some fairly harsh scissoring was needed to get that down to a pair of 85-minute films. It also loses the obviously episodic nature, with some of the parts intended to be stand-alone. But, if I’m blunt, I think the problems here are considerably more intrinsic. By the end, I was glad I had decided to go with this version; the prospect of sitting through the longer version had little or no appeal at all.

The most obvious problem was the animation style, which managed to combine the worst features of both CGI and traditional animation. The end result is something which looks flat-out ugly, and thus a far cry from creator Masamune Shirow’s original art. For what I can only presume was good reason, the producers decided to have 13 different animation studios handle things, each doing one episode. While they were all clearly working from the same source material, it’s obvious that they were not all equally competent. Especially when compiled together, the decent bits simply make the bad look all the worse; it would probably have been better had it all been bad. As the original 1998 OAV showed, your eyes can get use to limited animation eventually – providing it isn’t frequently been shown anything else.

The other issue is a story which felt, at best, like another warmed-over rehash of previous elements. Oh, look: pro-human terrorists are threatening the peace of Olympus. Yes, again. It also drops in weird elements which made no sense. Did you know Deunan’s mother was African, and was killed while walking across a street reserved for white people? Briareos is also African. I’m not quite sure what woke point writer Junichi Fujisaku was seeking to make with this, also a sharp deviation from Shirow’s material. But it’s so badly-handed as to actively subtract from proceedings, and has aged very poorly over the decade since. A lot of the content is “inspired by” Greek mythology, in particular the 12 Labours of Hercules, to the point it feels on occasion like a SF episode of The Legendary Journeys.

The overall story arc mostly concerns Olympus’s “Ark Project”, which is intended to secure a future for humanity, but is being opposed by the Human Liberation Front, and in particular Deia Chades. There’s also a clash between Olympus and another city-state, Poseidon, which confused the heck out of me, as in the previous version, Poseidon appeared to be a multinational conglomerate. Whatevs. To be honest, it would have been a bit of an improvement if I could have brought myself to care about this, or anything else presented here. Instead, I found myself largely uninterested in the watered-down version of Deunan which we got here – someone who seemed more concerned about getting in touch with her feelings than with kicking ass.

Dir: Takayuki Hamana
Star (voice): Maaya Sakamoto, Kōichi Yamadera, Mikako Takahashi, Hiro Shimono

Appleseed Ex Machina

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★★★½
“The Deunan wears Prada.”

I think this is probably my favourite of the various incarnations of Appleseed. It may not be the best characterization, the best animation, or the best plot. But I think in overall terms, the combination is the most successful. In all the others, you can typically point to one of those three areas as being at least somewhat deficient. Here, if none are outstanding, they’re all solid and competent. It may help that legendary Hong Kong director John Woo was one of the producers. If you didn’t know that, you could probably tell from the early scene in which Briareos crashes through a church’s stained-glass window, a gun blazing in each hand. “All that needs is some white doves in slow-mo,” I thought. And, lo, later on, the birds in question do appear – and are even necessary to the plot, which is probably more than Woo managed!

The story here begins with the latest in a series of terrorist attacks, carried out by cyborgs. It turns out they are not acting of their own free will, but are being “puppet mastered” into their actions. Worse, the human residents of Olympus now appear to be joining in, baffling Deunan (Kobayashio) and her colleagues in ESWAT. Viewers, however, will likely be quicker to figure out the cause there, given the rather obvious mentions of a hot new piece of wearable technology called Connexus, which simply everyone who is anyone is now sporting. Meanwhile, a new kind of soldier biodroid is being developed, basied on Briareos (Yamadera), designed to possess the talents of humans or cyborgs, but without the negative traits. After Briareos is injured, Deunan is partnered up with one, Tereus (Kishi). This freaks her out, because he looks just like Briareos, before his cybernetic upgrades. Meanwhile, Olympus leader Athena (Takashima) seeks to leverage the terrorist attacks to gain support for her plan to create a worldwide security network.

There’s a lot going here, yet the script manages to keep the elements clear and moving forward without confusion. There’s a sweet spot in SF between the simplistic and the over-complex, and this hit it better than most. The animation is a tad short, however. Weirdly, what stood out as defective was the hair, which didn’t move in the way it should. Either that, or I guess, after the apocalypse, hair lacquer is not in short supply. In general though, the technical aspects were competent enough and occasionally better than that. Perhaps due to Woo’s involvement, it feels a perfect candidate for a live-action adaptation, though the budget would need to be well into nine figures. I’d go with Ruby Rose as Deunan and Dave Bautista as Briareos. Change my mind. :)  Oh, and the tagline? Yeah, some of Deunan’s outfits in the film were indeed designed by Miuccia Prada. She has been running the family’s clothing company since 1978, and was a fan of the previous film. A very well-dressed action heroine indeed…

Dir: Shinji Aramaki
Star (voice):  Ai Kobayashi, Kōichi Yamadera, Gara Takashima, Yūji Kishi

Appleseed (2004)

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★★½
“Weak at its core.”

This is obviously technically superior to its 1988 predecessor, with CGI done in a way that the people, in particular, look like cel animation. I suspect that being a theatrical release, rather than a original video animation, gave it a significantly larger budget, and it hits the ground running. The opening sequence is a bravura use of all the tricks in the CGI locker: swoops, zooms and majestic camera movements round a half-destroyed cityscape. Deunan (Kobayashi) fends off a host of enemies, but ends up being knocked unconscious, and taken to the utopian city of Olympus. There, she’s reunited with Briareos (Kosugi), and becomes part of the ESWAT team. But not everything is idyllic in Olympus, which is populated about equally by humans and vat-grown biodroids, who administer the city and keep humanity’s emotions and violent tendencies in check.

In particular, there are tensions between the administration of biodroid Athena Areios (Koyama), and the army under General Uranus. The latter are fiercely opposed to biodroids, and a faction take action, destroying the facilities which extend biodroid lifespans. They want to realise the “doomsday device” which will wipe out all biodroids. But a group in the administration want to activate biodroid reproductive abilities – this is the “Appleseed” of the franchise title. They need Deunan’s help in this; her mother created the biodroids and her DNA is in them. But the question of who actually has humanity’s best interests at heart, is considerably more murky than it initially appears.

There’s a lot of plot going on here, as the above would appear to make apparent [tip: the more often a society describes itself as “utopian”, the less likely it is to be so]. The problem for me was, it seemed as if the makers all but forgot about the characters. For all the technical wizardry on view, the 1988 film achieved a significantly higher degree of emotional resonance. I don’t think it’s a particular result of the voice acting. I suspect it’s just that the creators constructed this world, and all these groups operating within it, leaving little time in the script to develop Deunan as a character. She feels less like a person than a walking collection of plot elements. There’s also very little depth to the relationship between her and Briareos, which is among the most enjoyable elements in other versions. 

Unfortunately for the sake of my headline, I can’t honestly describe this as “rotten.” But it definitely did not manage to sustain my interest consitently. Since I was watching it in Japanese, I did have to pay a certain amount of attention, since I couldn’t just listen to it. This was particularly during the gobbets of exposition provided by the Council of Elders, a group of old men who debate with supercomputer Gaia about how to run Olympus. However, it was definitely at the bare minimum level for a significant chunk of the running time. After the spectacular opening, it felt like it was largely downhill for the rest of the way, with the usual superweapon finale only somewhat able to rescue things.

Dir: Shinji Aramaki
Star (voice): Ai Kobayashi, Jûrôta Kosugi, Yuki Matsuoka, Mami Koyama

Appleseed (1988)

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★★★
“Apples to oranges”

This feels like one of the first anime releases to get an official release in the West, and to be honest, the animation in particular is showing its age. It couldn’t be much more eighties, if the heroine had big hair and wore legwarmers while listening to her Sony Walkman. That said, when you get used to the relatively simple style, it’s decent enough. We are introduced to the post-WW3 world and in particular, the city of Olympus, which was designed to be a utopian environment for survivors. However, like all utopias, it failed to take into account human nature. In particular, some are very concerned by the prevalence of biodroids. These artificial creations were intended to be humanity’s servants, yet for their opponents, feel increasingly more like our masters.

In that camp is terrorist A.J. Sebastian, who is working with a disgruntled Olympus police officer, Charon Mautholos (Furukawa) to bring about the collapse of Olympus and its all-powerful computer, Gaia. Against them stand the Olympus anti-terrorist forces, in particular Deunan Knute (Katsuki) and Briareos Hecatonchires (Sakaguchi). They are refugees from the blasted hellscape which forms much of the world, who were taken in to Olympus, and became part of its police force. Already bearing a grudge against Sebastian for his killing of a colleague during a hostage situation, they are not unhappy to be tasked with his extra-judicial killing by Olympus’s leader, the bioroid Athena Areios (Sawada). But with the help of Charon, Sebastian is one step ahead of the authorities.

As shown in the video below (you’re welcome!), the original release of the anime did have its fair share of bumpy moments. Several signs clearly refer to the city as “Olumpus”, which doesn’t quite sounds like the home of the gods! Similarly Charon is referred to as “Karen” in the subtitles, which has a rather different set of associations in 2021, never mind the gender confusion it caused. Finally, Briareos is called Buliaros: I guess they were still settling down in terms of his Western name. It’s also surprisingly low-key in terms of action. Once you get past the hostage rescue mentioned above, it’s really Sebastian and Charon that are responsible for much more of the mayhem than Deunan and Briareos.

I did like the characters here though. It’s clear the heroine and hero have an easy-going relationship, trusting each other implicitly. Yet the script still finds the time to give Charon a back-story which makes his action understandable in the circumstances. Sebastian, not so much, however; he’s just a villain. The world-building is generally solid, though I would like to have learned more about life outside Olympus, to provide some contrast. The soundtrack – something I remember as a highlight of many films and series of the time – is utterly forgettable. It’s no Bubblegum Crisis, that’s for sure, and is even further below Ghost in the Shell. Overall though, allowing for its age, it did keep me entertained; truth be told, considerably more  than I feared it might.

Dir: Kazuyoshi Katayama
Star: Masako Katsuki, Yoshisada Sakaguchi, Toshiko Sawada, Toshio Furukawa

Bad Girl Mako

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★★½
“‘Slightly naughty young lady Mako’ – more accurate, less catchy.”

This was among the very last of the “pinky violence” films made by the Nikkatsu studio. Their popularity had been waning, and the company, under its president Takashi Itamochi, opted to move in a different direction. They began making what would be known as “roman porno”, leaving the action field open for their rivals at Toei, who picked up Meiko Kaji after her “defection” from Nikkatsu where she had made the Stray Cat Rock series.

I mention all the above, largely because it’s a hundred or so less words I have to write about this, which is one of the more forgettable of their “bad girl” films. While made competently enough, you sense that the heart of the director, making his feature debut, wasn’t particular in it, and title actress Natsu is a poor substitute for Kaji. It begins briskly enough, Mako and her girl gang pals beating up a guy at a bowling alley after he welches on a bet. While visiting a disco, she meets and pretends to fall for Hideo (Okazaki), in what’s really the set-up for a robbery. However, it turns out he has a gang of his own, and thus begins an escalating conflict.

Things are exacerbated by Mako’s brother, Tanabe (Fuji), being a member of the local Yakuza clan, the Yasuoka-Gumi – y’know, the real criminals in town. So for example, after Hideo gets a knife in his leg, he and his mates pay a visit to a Yasuoka-Gumi brothel, and liberate some of their workers. But Mako is also falling for Hideo, a relationship which might as well be wearing a neon sign flashing “doomed”, because he continues to incur the wrath of her brother and the Yakuza bosses. If you manage to predict that the film will end on a close-up of Mako’s face, until a single tear rolls down her cheek, give yourself two points.

It’s a rare moment of artistry in what is, by and large, a rather pedestrian production. From our viewpoint, it needed to concentrate more on Mako, and less on the tit-for-tat shenanigans between Tanabe and Hideo. While she kicks off that storyline, she then largely gets sidelined for much of the picture, until the deaths of various characters (of both sexes) bring her back into play for the final 15-20 minutes. In her absence, the film doesn’t have much to offer, except for low-level thugs snarling at each other, though some of the seventies style on view, in both music and fashion, is not unamusing.

I saw a review of this which said it was, “Obviously a political allegory about the tragic end of the Japanese student movement in the 60s.” Ah. That explains a lot. It being a topic about which I know precious little and care considerably less, would likely go a long way towards determining why this one left me largely underwhelmed.

Dir: Koretsugu Kurahara
Star: Junko Natsu. Jiro Okazaki, Tatsuya Fuji, Joe Shishido

Mardock Scramble

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★½
“Scrambled: adj. a jumbled mess”

Originally a series of three novels by Tow Ubukata, then a manga series published from 2009-12, I can only presume that something was lost in the translation to these three short (~65 minutes each) movies. Actually, make that just about everything. For after a promising first entry, I can’t think of a franchise that fell so completely off the rails. Okay, maybe The Matrix, with which this shares similar problems: taking itself far too seriously, and diverting into social commentary for which no-one was asking. I gave serious consideration to bailing and make this a rare “Did not finish,” which I’d not even bother writing about. But perhaps if my experience can serve as a warning to others, the tedium will not have been experienced in vain.

It’s the story of teenage prostitute Rune Balot (Hayashibara), whom her pimp Shell Septinous (Nakai( tries to dispose of after she becomes too much of a liability. Near-dead, she is rescued by the mysterious Dr. Easter, who transforms her into a powerful cyborg, under the provisions of the murky “Mardock Scramble 09” protocol, which allows for extreme measures to be taken in pursuit of the preservation of life. Accompanied by a multi-dimensional entity named Oeufcoque (Yashina), which takes the form of a mouse (!) that can transform into any object. She’s unleashed to track down the evidence necessary to convict Shell of murder, but has to deal with Oeufcoque’s former owner. Dinsdale Boiled (Isobe) – really, who comes up with these names? He underwent the Mardock Scramble process as well, except went more than a little bit mad as a result.

The first movie is not bad at all, and ends with Rune at the mercy of Boiled and Oeufcoque disabled, after a vicious battle. I rushed off to immediately find the second and third films. A fatal mistake. I should have guessed from the “with one bound, she was free” resolution to the cliff-hanger. For rather than the same blend of cyberpunky action, in the vein of Ghost in the Shell, vast swathes of the second and third film are spent watching Rune play blackjack and roulette. No, seriously. Apparently the proof of Shell’s crimes was encoded on four million-dollar casino chips, and these can only be obtained by accumulating wealth at the gambling tables. Very. Slowly. And with far too much explanation. If I didn’t know better – and, to be honest, I really don’t – I”d think they blew all their animation budget on part one, so had to cut back severely for parts two and three.

Even the bits between the gambling sessions are borderline ludicrous, like the wonderland where cyborg Tweedledum is in a gay relationship with Tweedledee. Who is an enhanced dolphin. Tack on a whole bunch of psychobabble about the nature of things, and yeah – my Matrix mention above begins to look increasingly relevant. The whole saga feels as if the creators simply vomited out ideas onto the page, then turned that over, in lieu of a completed script.

Dir: Susumu Kudo 
Star (voice): Megumi Hayashibara, Norito Yashima, Tsutomu Isobe, Kazuya Nakai

Akame ga kill

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★★★
“Game of Thrones meets Japanese anime humour”

“Akame ga kill” can be translated as “Akame kills by slashing” and yes, she and her comrades do that and much more! Though, strangely enough Akame is not really the main character of the series, but young teen boy Tatsumi. Honestly, I wonder why the title character is not at the center of a show. But who cares as long as the show is good? And there is certainly no shortage of action heroines to be found therein.

Let’s start with the plot of this fantasy anime series from 2014. Young Tatsumi (Saitô) comes into the capital of the Empire. Hoping to work his way up the  ranks in the army, and send earnings back to his poor village, he’s quickly disillusioned when he’s tricked out of his money. A wealthy girl and her family offers him shelter, but in the night the infamous rebel group “Night Raid” attacks and kills all of the inhabitants of the house. They give Tatsumi a choice: join them, or die! Tatsumi is hesitant, until they show him that the two friends with whom he started out from his village, were tortured and slain by rich perverts for pleasure.

The truth of the country is then revealed. The young king is manipulated by an evil advisor, and the government is corrupt and consists of a rich elite who exploit the poor by taxes or by torturing them. Night Raid is a group of people, mostly unknown to the authorities, who want to overthrow the government. The advantage the group have is possession of so-called “Imperial Arms”, magical weapons that can do wonders. Each has its own special ability, and can typically be used only by a carrier to whom it responds emotionally. Unfortunately, their opponents also have these kind of weaponry. They are a newly formed group of the Empire called the “Jaegers” (“Jäger” is the German word for “hunter(s)”), under the leadership of the gruesome General Esdeath.

Let battle commence! For Akame ga kill is essentially a Battle Royale-esque anime version of Game of Thrones – though with every one of the main characters carrying Imperial Arms, all parties have an equal chance. And in common with Thrones, there are a lot of strong female characters on both sides, to the extent that they largely overshadow the male characters.

On the side of the rebels, you’ll find the thief Leone (Asakawa) who can turn into a feline beast with incredible regeneration abilities; the pink-haired Mine who wields a very big gun, triggered by the power of her own emotions; the socially awkward Sheele who uses giant scissors (it’s not as ridiculous as it sounds); and a restrained assassin, the title-giving Akame (Amamiya), as well as two male characters. All of them guided by Najenda, a former general of the empire, with a mechanical arm and an eye patch. Later on, they are joined by Chelsea, a saucy girl who is able to turn into anyone from a little cat to a two-metre man thanks to her magical make-up. Don’t ask, just go with it…

The other side responds, among the male characters, with fanatic guard Seryu Ubiquitous, who plays judge and hang(wo)man in one, and is probably the least likable character of the show. She owns a little magical dog that can become a giant beast, eat opponents and turn her body members into weapons. Then there’s Kurome, the little sister of Akame, who can command up to six dead people to do her bidding. And all of them are led by the sadistic General Esdeath. Imagine Elsa from Frozen having grown up to become a Nazi with very big… ahem… eyes… In the last quarter, also introduced are the so-called Rakshasa demons who have no magical weapons, but are specially trained assassins, although they don’t get any backstory.

There are a lot of fights between the characters on these two sides. The series follows the GoT model of killing off main characters one by one, be they good or bad; you start wondering if any one will still be alive for the final fights. But rest assured, there will be some, Surprisingly – attention: spoiler – Tatsumi is not the big winner in the end, despite being the center of the story. Obviously the writers of the show eventually remembered that the show’s title had Akame in it, so the big final duel is fought between Akame and General Esdeath.

Though… young Tatsumi is really favoured by the ladies, it has to be said: While feline Leone hardly made any effort to conceal that she had the hots for him, also Mine fell in love with him, clumsy Sheele connected with him, Akame seems to be touched by him, Najenda liked him and even the otherwise cold-hearted General Esdeath decided, after just having a glimpse, that she was in love with him. Cut to her half-naked with him in her bedroom!

The big problem I have with this series is that it is morally very dubious. Both sides kill with a similar lack of mercy, and don’t really care if you are just a normal guy without their powers. If you are on the wrong side, you basically deserve to die. It reminds me of something my chemistry teacher once jokingly said: “I cannot see any difference between right- and left-wing radicals because they don’t show any difference in the way they react!” [Jim: Ah, GirlsWithGuns.org. Come for the girls with guns, stay for the chemistry jokes!]

In my judgement, “Night Raid” don’t come off as better than the “Jaegers”. Everyone seems just too eager to kill the other side. Even sisters Akame and Kurome think it’s necessary to kill the other despite their family love. General Esdeath commands their squad, if they should come across Tatsume, to capture him alive – as long as it is possible, because the mission comes first. Their motivations – justice (or what Seryu thinks justice is), revenge, loyalty to the empire – may differ but their methods do not. And I have to say, I couldn’t avoid the impression that the series enjoyed showing the graphic violence happening to all the characters, a little bit too much.

Honestly, I do have a big problem identifying with any of the dramatis personae. Their morality is up for grabs; even Tatsumi is too ready to kill those he doesn’t know to “free the people”. Actually, I don’t see the average Joe or Jane suffering very much from the “evil” regime. The normal people in the cities or at the market seem mainly to go about their business; I don’t hear them complaining about supression or the excessive taxes.

In the end, I was left with the impression we witnessed a feud between two powerful groups. who just fight for power. Equally distracting, the “evil guys” are depicted with some sympathy; in Wave, the Jaegers have a character that’s essentially their Tatsumi. Good or bad, the survivors always mourn the friends and comrades they lose in battle, and some on the “wrong” side even survive to build a better world. I guess my issue is, none of the characters ever question what they are doing. Yes, they may regret losing people and admit that they are killers. But they always seem to think that the purpose justifies the means – an attitude with which I have a basic philosophical problem.

Also, the combination of Game of Thrones grimdark and goriness with awkward Japanese anime humour does not really go well together IMHO. It’s really up to you if you can live with quirky character behaviour, in the midst of a dark and serious fantasy setting. The ending must rank among the most down-beat endings of any anime series. The reason may be due to another parallel with Game of Thrones: the studio ran out of the manga to turn into anime episodes, and had to invent its own ending.

So, a fan of the story can decide between two different ones.  Spoilers. The manga eventually had Tatsumi marrying Mine with whom he was – to quote Shakespeare – in “a merry war” and had two babies with her. The anime ends with him dying in battle, in the arms of Akame. She fights Esdeath, who then encloses herself, to die with her beloved Tatsumi in an ice block that she shatters. The choice is yours. But after the final end title, is a little postscript to shows Akame will continue her assassin work among the lawless, quite probably the last survivor of “Night Raid” and this story.

Dir: Tomoki Kobayashi
Star (voice): Sora Amamiya. Sôma Saitô, Yu Asakawa, Risa Mizuno

Burst Angel

  By

★★★
“Jo…just Jo. Forget about the rest!”

A couple of years ago when I wanted to rekindle my interest in anime, I stumbled over this series. Having been spoiled by the high quality of the GWG-anime Black Lagoon, I watched a couple of episodes of Burst Angel online, then left it and later couldn’t find it anymore. But also I didn’t bother, as the Youtube reviews I found painted a very dismal picture. According to one reviewer the series would later become stale, and always repeat the plot twist of the character of Meg being kidnapped and rescued by action girl Jo. Another – female – reviewer complained about the characters being sexually fetishized and getting bigger breasts in the inevitable “beach episode” (a standard in anime series which always gives a reason for some good-natured laughter).

Flash forward to today when – after having consumed around 40-50 more anime shows – I rediscovered the show on the German amazon.prime. I have now seen the entire 24 episode run and can definitely revise my ill-informed opinion.

The story so far. Time: The future. Young student and upcoming cook Kyohei (Ueda) starts a new job, becoming cook to four girls of different ages. They all live in a very comfortable and large-sized  mega-mobile home and also command a giant mecha. Financed by the mysterious organization “Bailan”, the four are always getting into action, after they get a (paid?) mission to fight monsters, giant robots or other strange creatures that suddenly appear.

Usually that means that tough grey-haired red-eyed Jo (Watanabe) gets into the mecha-armour and beats the opponent, until it stops moving. Who is behind these action usually stays unresolved. The other girls are Amy, a very young computer nerd; useless but obviously absolutely possessive Megan; and the older, leader of the team, Chinese girl Sei. Named after the characters in Little Woman (no, really!), they all assist and support Jo. And of course there’s Kyohei who is… just there. Which is strange, as it seemed in the beginning, he would be the main character – or that the story would at least be told from his perspective. But the series quickly all but forgets about him.

But to be honest, most of the characters don’t serve much purpose. The action usually centers almost all around Jo. Jo is a tough cooky from the street. As told in a short manga series, she and Megan originally formed a duo that would take on any job, before they formed a team with the other two girls. As a matter of fact, one episode even depicts how Jo meets Meg and her gang for the first time. Strangely, Meg appears in this episode much more grown-up and tougher than the rather infantile cry-baby she is depicted as, throughout most of the series.

The series is certainly not so uninspired or repetitive as one of the Youtube reviewers claimed it would be. It tells a range of stores stories, and also brings new elements into its narrative over its course. Every girl gets an episode where she can shine. So we see young Amy fight against robots in the Cyberworld, or Sei being confronted with a renegade faction within Bailan who wants to take over the organization by getting in possession of a powerful seal.

But the most interesting character is naturally the super-cool, calm Jo. Originally, my interest in the series grew because I thought she would be similar to Revy from “Black Lagoon”. Well, that might be a bit toi much of a compliment. While Revy is a three-dimensional character, Jo appears one-dimensional, almost a cliche, in comparison. The series gets its act together in the last few episodes when we discover Jo is one of two survivors from a biological weapon program run by an evil organization, who lost her memory. The show ends with her having to win her final fight, against the other, superior combatant spawned by the program.

This means lots of tears for Meg, as she clearly has to grow up now! ;-) In any way, while the series had a clear (and satisfying) ending, I amn’t so sure that things are quite as they seem, or that the dissolved team will never come together again. Though I hope the friendly Kyohei – whom I really wanted to see get a girl-friend – will find a better, or at least, more peaceful workplace in the future!

My personal judgement: Burst Angel is a good, solid and entertaining girls with guns show. There might be some improvements that could/should have been made but overall it’s good entertainment. Yes: stupid, sometimes downright silly Meg gets kidnapped more than once, though it didn’t bother me too much, and it’s not as apparent as you might think. I have much more an issue with the general uselessness of the character, though even she had an arc where she could do something, going undercover in a girl’s boarding school.

Concerning “sexually fetishization”… yeah, right. This is an anime show, what do you expect? But honestly, in comparison to other series – now I’ve got the experience to make a balanced judgement – the teasing is very limited. You want sexually fetishization? Watch “High School of the Dead” and then come back to the discussion. I’ve no problems with that, at least not in Burst Angel. You also don’t complain about Superman having a large chest or Batman wearing black latex and leather, do you?

Overall: A good show, though in the genre segment covering science fiction/fantasy action girls with guns, there are better shows with more developed characters. But as I said: I had a lot of mindless fun.

Dir: Koichi Ohata
Star: Akeno Watanabe, Megumi Toyoguchi, Rie Tanaka, Yūji Ueda 

Riddle Story of Devil

  By

★★★
“This class is a killer…”

Another example which illustrates the difference between Western and Japanese approaches to education. For here we have “Class Black”, a group containing a baker’s dozen of female pupils, eleven of whom have been tasked by a mysterious group to assassinate the twelfth, with the person who does it being given absolutely anything they want by the organizers. Yeah, it’s not quite Beverley Hills 90210, is it? Of course, nor is it quite that simple. One of the candidates, Tokaku Azuma (Suwa), is the daughter of a legendary and long-standing family of assassins, but has had enough of her enforced role. Inspired by her mother, she has decided to rebel, and so switches sides. Instead of targeting the intended victim, Haru Ichinose (Kanemoto), she vows to protect her from the other students.

Of course, it is a ridiculously contrived scenario, even given the rules which are laid down at an early “orientation”. The series (twelve x 25-minute eps, plus a bonus one) seems occasionally to be aware of this. It shows up in elements such as the class’s teacher (Sakurai), who is depicted as barely noticing three-quarters of his class has “transferred out” in about a week. But these are strictly assassins who act as necessary to the plot. For example, one attempt consists of strapping a bomb around Haru’s neck… but then giving Tokaku 24 hours to find the four-digit code necessary to disarm it. If I had the promise of whatever I wished, I’d not be as generous. I’m just sayin’…

Admittedly, when the truth is finally revealed over the final couple of episodes, it turns out things aren’t quite as they initially appeared. There are clearly far larger forces at play, pulling the strings from behind the scenes, which help explain some (though not all) of the machinations. I also like the slow reveal of information over the course of the series. We gradually learn about both Tokaku’s own background, and those of her ‘competitors’, which range from professionals to your average or garden psycho killers. Their styles of attack are equally varied: as well as the explosive devices mentioned above, there’s poison and even scissors attempted as methods of dispatch.

I was, frankly, a bit uncomfortable with the depictions of these fifteen-year-old girls. While there’s no actual nudity, the makers seem intent on coming as close as possible. That’s especially true of the bonus episode, in which the class is stranded on a desert island for a Battle Royale-style (though non-lethal) contest. Swimsuits-a-go-go. I’m on happier ground with the action – there’s some of that in just about every episode after the first – and the lack of romance (in part no doubt related to the lack of male characters) is also a plus. In the end, it’s a light enough entry to merit viewing, though I’m less sure about repeat value. It’s perhaps telling that I only finished watching it yesterday, and I already had to look up the heroine’s name.

Dir: Keizō Kusakawa
Star (voice): Ayaka Suwa, Hisako Kanemoto, Yoshino Nanjō, Takahiro Sakurai

Cutie Honey: Tears

  By

★★★
“Battle Angel Cutie”

Or, perhaps: “What Blade Runner would have been like, if android Roy Batty was a good guy.” For this appears to be a mash-up of elements from that and Battle Angel Alita. While preceding the film version of the latter, it does seem to borrow elements of the manga, not least in its depiction of a future society where there is a strict, and basically vertical, division between the haves and the have-nots. After disease and pollution have pushed society to the brink, the rich and powerful live towards the top of a self-sufficient mega-city, under the control of ice queen Lady Jiru (Ishida) and her “Sodom” cyborg enforcers, leaving everyone else struggling for scraps down below. And leaving is a death sentence, due to the viruses infecting the outside world.

Falling from the sky, also just like Alita, is Hitomi Kisaragi (Nishiuchi), an android girl with the ability to transform, created by her scientist “father”, Professor Kisaragi. Witnessing this event is a young child, Hayami. Years later, he has become a journalist (Miura), and encounters Hitomi again as she stops a Sodom patrol from arresting an opponent to Jiru’s rule. He tracks Hitomi down, and requests her help in the resistance movement of which he is a member, telling her Jiru is actively causing the pollution which affects the lower levels. However, there are other members of their group, intent on taking more direct and violent action against the powers that be, and there’s also uncertainty over what happened to Prof. Kusaragi.

I really liked the look of this film: with the split between rich and poor, the style manages both to be sleekly neon and grimly dystopian, having its design cake and eating it too. Admittedly, the level of devotion to Blade Runner becomes almost slavish – somewhat ironic, watching this in November 2019, the month and year in which Blade Runner was originally set. However, I guess there are few if any better movies from which to lift. I also admired the maker’s willingness to go in a radically different direction to the previous Cutie Honey live-action adaptation, Gone is the cute bounciness, replaced by a dark, almost cyberpunk approach. It’s one best personified by the excellent performance of Ishida as Lady Jiru, who looks and acts every inch the part of an evil overlord.

The story-line, however, is severely underwhelming, with elements that are unconvincing when clear, and unclear when they are convincing. While we do get the expected confrontation between Hitomi and Jiru, the former has to deliver, with a straight face, lines of dialogue like “Because I’m incomplete, I never give up… Because I have defects, I will beat you.” Cue much rolling of eyes here. More generally, neither Hitomi nor Hayami provide enough to make you want to keep watching: Rutger Hauer and Harrison Ford, they most definitely are not. As a result, you’re left largely to admire the production design, while waiting for the next Jiru appearance. It’s not quite sufficient.

Dir: Asai Takeshi
Star: Mariya Nishiuchi, Takahiro Miura, Nicole Ishida, Sousuke Takaoka