FLCL Progressive

Hidomi Hibajiri is a disillusioned young girl who never takes off her headphones. Her whole life consists of going to school, helping out at her mother's cafe, and listening to music. And with nothing else to break the crippling monotony, she keeps her headphones on at all times. That is, until she is run over by a mysterious guitar-wielding woman.

That same night, a robot barges into Hidomi’s room along with a boy from her class, Ko Ide, and the kids are chased around town together. They're saved by the guitar-wielding woman from before, but now Hidomi's got a horn growing from her forehead? Who knows where these robots are coming from, what kind of vespa woman this weird guitar woman is warning her about, or what this thing on her forehead is, but it doesn't look like Hidomi is going to be able to ignore all this with headphones!

[Written by MAL Rewrite]

Haruhara, Haruko Main

Hayashibara, Megumi Japanese

Hibajiri, Hidomi Main

Minase, Inori Japanese

Jinyu, Julia Main

Sawashiro, Miyuki Japanese

Canti Supporting

Ide, Kou Supporting

Fukuyama, Jun Japanese

Aiko Supporting

Kurosawa, Tomoyo Japanese

Masurao Supporting

Ohkura, Kouji Japanese

Nogata, Marco Supporting

Nakazawa, Masatomo Japanese

Misaki Supporting

Shimizu, Ayaka Japanese

Yuuya Supporting

Sugiyama, Riho Japanese

Terashima-Furuta, Maki Producer

Honda, Fuminori Producer

Kawahara, Junichirou Producer, Production Assistant, Production Coordination

Ogawa, Yuuki Director

Reviews

Jul 8, 2018

thesmore

Recommended

Have you ever had that moment when you are in utter awe with how animation flows past your eyes with an interesting story? That's what I got in this wacky adventure. There has been a lot of complaints, but I will only address one of them right away. Its animation is creative and imaginative and it has the pacing like Gainax shows in the past. Where it falls, however, is that this animation is not consistent. What I mean by consistency is that at the start of every episode there is a dream sequence done by a new animator. SO I DO NOT SEE ANIMATION ... BEING A COMPLAINT IF IT'S DIFFERENT BECAUSE THERE IS A DISTINCTION BETWEEN A REALITY AND A DREAM. Ok now that's out of the way I need to explain why FLCL Progressive is worth checking out.

Story:
FLCL Progressive piggybacks the story from its prequel. If you haven't watched the prequel, then I will say that it is about teenagers growing up. Some grow up too fast, while others grow too slow. Our main protagonist, Hibajiri, is a girl who seems to have grown up too quickly. What I find interesting is how the story is a journey for her to become both younger and older. She becomes more emotional like a kid and she also becomes more mature like an adult. The story is also filled with a plot behind the scenes that make up for the climax in episodes 5-6. WIthout giving too many spoilers to a short 6 episodes, I think everyone would come out with a joy ride. As for its originality, it is not really anything new for people who have watched the prequel, but otherwise from that it is noteworthy considering how the rest of the 2018 Spring and Summer are made of sequels and isekai shows. If you want a breath of fresh air then this is your best bet. (8)

Art:
As a show with a Gainax feel, things seem to flow in an imaginative way. The creative powerhouse of Gainax may have left their work with Production I.G., but I think FLCL Progressive shows that the Gainax spirit has recovered by at least a considerable amount since then. I especially liked the dream sequences in which the animation and art style was drastically different from how the show usually presents itself. In each of these moments they are not only visually appealing but also thought provoking. This combination did not fail me at all, and from beginning to end I was pleased by the presentation. (9)

Character:
I cannot say the characters are that strong because they seem mostly flat. It was hard to cheer for Hibajiri because she is a very aloof character and our other main character, Iide, doesn't seem very consistent. I will say that Haruko, the eccentric adult, carries the show until she eats someone she shouldn't have. Haruko and Hibajiri act as total opposites of one another and help make the show more coherent, yet the downside is that I'm never too sure what side these two are on all the time. Are they against each other, going toward a common goal, or does it even matter? Sometimes they are enemies, teacher-student, love rival, I will let someone figure that part for me. It's not average by any means though. Have you seen an anime with characters experiencing a multitude of relationships? So it is just fine. (6)

I do not put enjoyment as a part of the score, but I can promise you that FLCL Progressive is not a waste of time. It is a breath of much needed fresh air from generic shows.

Reviewer’s Rating: 8

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Jul 9, 2018

NatureJay

Mixed Feelings

Ah yes, the sequel that no one thought was necessary but we felt blessed to get... I wish I had something more to say about it but the process of eventually watching I can only describe as being akin to fanfic. They loved the original. They wanted to build on it. They didn't get how it worked.

I'm going to try to lay out some positives first before jumping in with the more frustrating aspects.

* The Pillows are back and provide the soundtrack. The main theme for Progressive, "Thank you, my twilight", with all it's silly Engrish, is great and I ... won't hear otherwise. Hearing it start up in the scattered episodes that it did was always a highlight.
* Hidomi's VA, Xanthe Huynh, I had literally never heard of before but she was legitimately talented in voicing a character that was emotionally muted in spots and utterly manic in others as the plot dictated. I think she even outshone Kari Wahlgren, who was playing the Haruko character for all it was worth.
* Hidomi Hibajiri and Ko Ide are both interesting concepts for characters. I don't want to spoil them completely, but neither is totally what they seems, Hidomi presenting as a nihilist tsundere-like with morbid dreams and Ide as... well, basically a "bro" or the junior high equivalent of it despite not exactly looking the part. Both have more to their motives than you initially suspect and, while the reveals are in some cases too reliant on exposition for my tastes, it works to confirm junior high and that phase in one's life as a failed form of posturing.
* Episode 5. The animation quality was not at all consistent but they blew the budget on episode five and it shows. We also get the return of "manga" style, difficult as it supposedly is.

So, there's some decent stuff in there. I think that had it been a standalone and not trying to riff of a seminal work released some fifteen years prior, we would have been okay with it as its quirky self, but it suffers too much from comparisons and from here I have no choice but to address the negatives with spoilers and comps to the original.

* Subpar Narration. One of the odd triumphs of FLCL was the recognition that, without being hit over the head with it, Naota was fundamentally an unreliable narrator. It's not that he was trying to lie to you as other famous literary unreliable narrators were, he was merely convinced that in order to present a narrative of his own life, he needed to protect Samajima Mamimi or whomever or do X. The experience of watching FLCL was the experience of watching a teenager, immature but thinking that he knows how the world works better than everyone else around him, try to craft a story in which his life makes sense both in the moment and going forward as far as justifying action he's yet to take. After so many of these episodes in which Naota appears to make a decisive declaration that doesn't add up to much, you realize that it's not a bug, but a feature in trying to capture the teenaged conviction about what's to come. Hibajiri narrates... a little... but it's predominantly not as things are happening to her but rather as she's dreaming. Without getting into the persistent argument of "it was all a dream!" presenting relevant stakes within art, the whole thing is structured about as well as, say, when a long running series that builds its narrative arcs around fixed points in the schedule goes through a series of flashbacks or flashforwards preceding each episode in order to give you the illusion of development towards a specific endgame. Even without that unflattering comparison, you have a double removal within the dream sequences in that you are not only conscious of the dreaming, but have Hidomi's more Id-like subconscious emerging, no less nihilistic, but at least willing to have fun, and said subconscious is anomalous with the exception of episode four when it comes out to play in full. This could be analogous to the lazy writing that comes with "here's an episode where the characters are drunk" or "here's an episode where a magic spell causes them to be more candid than they would ordinarily." Naota's narration and all the attendant flaws were highly organic, arising out of his character and shortcomings. Hidomi's narration is artificial, rarely utilized, and mostly in the service of reminding the audience of what the shows fears they may not have picked up on.
* No Conceits. Each episode of the original was wrapped around a conceit that was developmentally reflective of where Naota was at as he was trying to become an adult. You had a video games episode, an airsoft / paintball episode, a class play episode, a baseball episode (I also discovered DBZ had a baseball episode which I watched the same evening as the finale). There's nothing in particular to organize any of the episodes of Progressive. You could conceivably say that ep 2 was a part-time job and ep 3 was riffing off the beach episode trope, but they weren't really doing anything with them. The potential was definitely there to explore something, as the original tried to deal with male-gendered tropes (maybe class play excluded) and there could have been ways of exploring Hidomi's more feminine presentation through consideration of other rites of passage. They just didn't.
* Amorphous Time. FLCL was very much of a time and place in its references, which was risky but I think worked, it's just hard to tell what the staying power will be once those references fall out of circulation. Progressive shied away from making any references to topical pop culture at all. The closest it came was talking about gendered clothing, ultimately a non-starter, and having Hidomi scrolling through her phone. References aren't going to make or break a show, but the original used them in a smart way where you could see the gestures they were making and how they were supposed to sync up with your understanding of the characters making them, especially in how Haruko referenced bands that presented as counter culture. There's nothing really "2018" or any single year about the issues the kids were dealing with or the world they were living in, and thus the whole exercise lacked that feeling of both density ("I can follow this thread and see how far it takes me") or being grounded in a specific setting or timeframe.
* Haruko. It's both too easy and too difficult to level one's aim at the show's "star," but the Haruko of the original was genuinely ambiguous as to her motives and aims. You can't really forget some of the revelations of the FLCL finale, but Haruko's personality in the sequel could be summarized as manic, controlling, and covetous, and not even Jinyu (as a largely unnecessary foil) can really overcome the fact that you're watching a character who mind-controls most of a classroom for... reasons? If it brings out anything, it really batters you with the "adults are wrong, kids are also wrong" motif from the original but not to any productive effect. Moreover the brainwashing bit is scarcely relevant to anything that's happening, outside of "let's get everyone to the amusement park!" late in the series, ultimately another failed conceit.
* Mori / Aiko. I suppose this is going to be a possibly polarizing opinion, but I liked Aiko's initial episode because I was convinced that we were finally getting a social commentary that was topical, in that Mori is pretentious and attempts to be fashionable but has almost no understanding of human nature, culminating in him paying Aiko to be the shy "I'm so embarrassed" anime girl stereotype because it's what he thinks he likes and it's what his notion of a relationship is. Aiko cutting him down to size and just taking his money in episode three was excellent, because it took to task all the dudes with similar notions, of such there are enough among the weebs. And then he continued to follow her around anyway and did a few selfless things in the finale episode and got the girl. Without really developing as a character or getting what was wrong about his prior behavior. I don't have an inherent opposition to the dumpy guy getting the girl, but for god's sake, at least have him come to some sort of realization about how awful his earlier behavior was.
* N.O. Overload. The trouble with just about every series, but particularly shonen, is that once certain abilities become prolific among the characters, they stop working as what singles out the original characters and makes them unique. Hidomi and Ide probably would have been enough, Marco, maybe, since they did it with Naota / Ninamori in the original, but when the whole junior high population appeared to have some version of N.O. that was being sucked out by Interstellar Immigration during the finale, to power whatever was fighting the giant iron, it felt that was taking away from the characters we were most familiar with.
* Lazy tie-ins. I don't really know what to do with Canti or Amarao or the mystery of the bass because even though the promo material asked "what ever happened to" this or that, the payoff was never there. Canti was little more than a Macguffin. Amarao was a visual name drop and then an actual one. The bass was there, but the potential tension between the Jinyu aesthetic and the Haruko aesthetic was never exploited nor spelled out particularly. The impression was given that Medical Mechanica was now just about everywhere and yet they simultaneously had very little "presence" in the show outside of the visual of the iron, which was rarely used to any particular effect, certainly not the siren and steam burst that accompanied Naota's more emotional moments. In short, they utilized a lot of the imagery without actually doing anything with most of it. Or rather, while the original highlights such characters and traits, the sequel referred to them, and then refused to expand on them. Thus, it positioned itself with the more lazy of the sequels, asking us "remember when?" without improving our understanding of what was happening.

Objectively, I'm not sure Progressive is bad, although a lot of people will probably say it's bad (MAL has a lot of 3/10 reviews right now), whereas I merely found it to be mediocre and poorly thought through. I'll still be watching Alternative when it arrives on the scene in the fall, but I feel like a lot of the wind's been taken out of me in terms of enthusiasm.

Reviewer’s Rating: 6

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Jul 8, 2018

dontcome

Not Recommended

Nothing amazing ever happens in this sequel. Every second we spend watching it is like a whole lifetime of dying slowly.

Hyperbole aside, I'll just be upfront: I didn't want this to happen. For years I was happy and confident that FLCL was seemingly sequel-proof. It's a perfect little character piece that crystallizes its particular time and place, celebrates all the excess and id-groping of the anime medium, and does it with heart and literacy. Nothing about it needed any elaboration. You can just ignore bad sequels, yeah, but they somehow make the original less "special." I wanted FLCL to stay special. Leave it alone.

Naturally, they ... didn't. I worked up some extremely cautious optimism and gave it a shot, anyway.

You can count me among the disappointed. Maybe Progressive isn't FOR us--the original was for older millennials who inherited the sensibilities of gen X, this one is apparently for younger millennials/gen Z. Re-using the throwback 90s alt-rock of The Pillows doesn't exactly scream "2010s zeitgeist," but ok, let's go with that. Well, Progressive does at least perfectly capture the soullessness and creative bankruptcy of this decade.

It's important to note that Studio I.G stated they planned to use young, somewhat inexperienced animators in order to capture the same kind of creative spontaneity as the first FLCL. Basically, trying to recapture lightning in a bottle--because that always works out, right? In the original, the approach was similarly improvisational, but it served a purpose: testing out then-new digital animation methods. Here though, it's just amateur-fetishism. The result is complete inconsistency--one episode looks like it could be any generic sterile looking moe SoL from this year, the next episode's brimming with off-the-wall animation and nice, hand-drawn looking linework. You can't really say Progressive looks good or bad, because it looks good and bad in about equal measure.

Working on a FLCL sequel should be an artist's dream--you can come up with all kinds of fucked up, evocative imagery and find crazy ways to work it into the plot and make it thematically relevant. The original nailed "magic realism with sci-fi overtones," maybe play around with some new genre combinations in this one. There's infinite possibilities besides just having robots come out of people's heads, right?

Nah. We get more robots coming out of people's heads, more phallic imagery, and more blabbing about "overflowing." Mamimi used that word at one point in the original to express how she felt in a dramatic scene with her limited vocabulary, but sure, let's have everyone use it now. Because ideas are hard. It's kinda sad seeing a show that gave so little of a fuck about what anyone expected being reduced to some kind of rote brand recognition checklist.

This might be contentious, but FLCL was never weird for the sake of it. It annihilated any border between highbrow and lowbrow, it was anarchistic, freewheeling, and almost felt like a 3 hour music video--but, it made sense as a story on an intuitive level because the creators grasped the basics of visual storytelling. The weirdness was there to give a visual logic to the convoluted web of sci-fi meta-narrative floating over the more central coming-of-age story, not to obfuscate things. There was always an emotional throughline in the craziness that kept you invested in the confusion.

Here, the pittance of novel ideas that weren't just stolen from the original take the opposite approach: the weirdness is weird for the sake of it in that generic "duuuude, LSD" sort of way that dumb people tend to falsely attribute to the first FLCL. In the original, you might have had a hard time explaining to a friend why Mamimi was walking a giant car-eating robot-dog like a pet in that one scene, but it made sense in the context of things. In Progressive, when that one side character is spinning around on the viking boat ride and some mechanical thing comes out of another mechanical thing and starts shooting missiles on a green vine thing, you're just as confused as your friend. The crazy shit is no longer there to accentuate the intimate character moments, it's there to REPLACE the character moments and to distract you from the fact you don't care about anything that's happening.

I remember all the theories about this sequel floating around online based on concept art and some animation snippets, and the interesting thing is nobody really got anything right. Not because Progressive defies expectations, but because it completely falls in line with them. Does that make any sense? It's the kind of stuff you'd never successfully predict because it's just too stupid and too obvious. You can imagine the writers sitting around in a boardroom coming up with this stuff a week before deadline, it's so on-the-nose.

"The original had a vintage vespa, so this one..."
"A vintage car."

"So we all know Haruko was this unpredictable manic pixie girl who used her sexuality as weapon to get what she wants. How do we quickly re-establish that here?"
"Uhh... I dunno... maybe, she can force high school students to watch porn on a laptop like some kind of escaped sex offender."

I'm serious, that happens. It's so dumb. Then she spends the next couple episodes barely connected to the plot, standing around and making the Dreamworks face as if to say "I'M HARUKO! Remember my memorable personality from the surprise hit OVA FLCL 15 years ago? I'll be relevant to the story by the 4th episode, I promise!"

In the original, Haruko was an awful, manipulative person, but she was oddly endearing, and you understood Naota's attachment to her. Conversely, you eventually got the sense she started feeling guilty over how she was using him. Not guilty enough to stop using him, but still, it felt like an actual human relationship, full of conflicting motives and ambiguity. There's nothing like that here. Watching Progressive, you just scratch your head and wonder "why are these kids still hanging around this creepy rapey hag who just ends up molesting and/or attacking them every episode?" Way to take one of the most alluring, dangerous, ALIVE characters in anime history and make her boring and washed up. Fuck.

I'd be fine with Haruko being recast as more of a typical antagonist if they remembered to fill that void with something, but the new characters have no soul. I know, "soul" is one of those buzzwords, it's hard to explain, but if you've seen the original you know what I mean. Naota and Mamimi had chemistry and felt like real people. They had flaws, but they weren't defined by those flaws; Naota was an angsty little ball of self-consciousness listlessly drifting through adolescence, but had a range of expression beyond just ennui. Mamimi was probably meant to either be slightly mentally retarded or somewhere on the spectrum, but I don't mean that in a derogatory way--she was like some weird wayward girl on the fringes of society you might have actually known at some point in your life. She had serious issues that the show convincingly sold to the audience--unlike a certain someone I'll get to in a moment--but again, there was more to her character than just brooding. She had an emotional range, and in the middle of that range she had her own unique "normal."

In Progressive, we're stuck with a fanfic.net self-insert "quirky" sadgirl protagonist with no apparent motivations, interests, goals or ability to make facial expressions. She has no genuine problems and looks like she could be a fashion model, but for some reason she's apparently drowning in nondescript existential malaise. The obligatory thematic undercurrent of her budding sexuality is wrapped up in miscellaneous gore/mallgoth imagery--she grins in her sleep as she dreams of zombies and dismembered corpses, etc. Because she's so QUIRKY and LITERALLY ME IRL XD :3. If you were worried that adult swim money might pressure the staff into pandering to Western sensibilities, your fears were 100% justified. This is the exact sort of fashionable fake depression bullshit that has no place anywhere outside tumblr.

I'm not saying you can't have a compelling character arc about depression or working through teen angst, I'm just saying it's all about execution. Again, just look at Mamimi in the original--her thousand yard stare, the way she tried to fill the holes in her life with countercultural debris and occult hocus-pocus, her freudian transference obsession with the name "Takkun"... She felt real. Hidomi is no Mamimi. Hell, Hidomi isn't even as interesting as Ninamori, and Ninamori was a side character who had one episode devoted to her before sinking into the background.

The less said about Jinyu, the better. She has zero personality and she looks like someone hit the randomizer in some shitty fighting game character create mode. Her voice actress stinks up the dub with the most hammy, melodramatic delivery in the show, but I can't really blame her because she didn't have much to work with voicing this bland cipher of a character. I can imagine the English audio director trying to explain Jinyu's personality to the VA in the recording booth: "she's, um... cool? And strong? And she's, uhh... uh... she wears pointy anime glasses?"

No good characters = no good character dynamics. That all-important adolescent romance angle falls flat because late in the plot, you still don't really get what Hidomi and Ide see in each other. They're both boring alphas (as much as Hidomi tries to pass herself off as some sort of maladjusted loner), they never really crack each other's shells, and they just don't have any "moments." I guess he likes her cuz she's a hot chick, and I guess she likes him cuz he's a hot guy...? Compelling stuff, right?

The first FLCL could convey so much more than that with visuals alone. Remember that part near the end when Naota and Haruko are riding on the vespa, smiling and talking about nothing in particular? No dialogue, just some song by The Pillows jangling away as their mouths flap--it's a casual but intimate conversation that we're not invited into, emphasizing how close they became. Remember Ninamori silently judging them the next day as she notices them slumming in a cardboard box? You can't have a great show that's only 6 episodes long without this kind of natural synthesis of visuals and story; everything from framing to body language communicating story and characterization.

To give you an idea of how Progressive stacks up, as soon as Jinyu first appears, she shoves the symbolic value of Hidomi's headphones down our throats in a clunky monologue. Later on, Ide--initially portrayed as this carefree class clown type character--has his "sad" backstory infodumped on us by a side character in about 10 seconds. At first I wasn't sure if it was for real or some kind of parody/meta-commentary, it was so badly done. The storytelling doesn't get much less mechanical and prosaic as it goes on.

The pacing is just baffling. How do you make a 6 episode absurdist comedy action sci-fi boring? Notice how every episode's structure is the same: we get a dream sequence intro to fill the "experimental" animation quota, then 90% of the episode is just there to set up climax. Then after the big explodey climax, we're left to assume that our questions will be answered in the next episode (they usually aren't). Rinse and repeat until ep 6.

I gotta touch on the visuals. The first FLCL was an early digital production that proved you can capture the expressiveness of well done cel animation in a digital medium. Even its color palette is more tasteful than anything coming out these days. Early digital resolution quibbles aside, it looked amazing--I didn't expect a post-Gainax "FLCL" to look as good, but I didn't expect it to be a total mess either. The female character designs could be cribbed from any interchangeable slice-of-life anime from the past few years. Everything in the first half of the show lacks shading and looks cheap. Besides a few animation bumps here and there, the action is floaty and stiff with no sense of weight or kinetic energy, thanks to a combination of poor directing and a surprising amount of studio outsourcing. The characters frequently jerk around with no in-between frames during serious action scenes, almost like those intentionally bad looking comedy budget-saving scenes in Kill La Kill--except it's not stylized or meant to be funny here. It's just bad.

The original FLCL was crammed full of fluid, stylish animation the whole way through and hidden single frame gags that served no practical purpose other than the animators having fun, since you have to pause to see them... and most of the time, this new one can't even be bothered to animate facial expressions and basic movement.

Admittedly halfway through the show, after the nth visual director switch, something happens: it starts looking... kinda good! The animation suddenly recaptures some of that sketchy, dynamic bounciness that was glaringly absent in the first three episodes; characters actually move around for the sake of it like actual humans in expository scenes; the action scenes are suddenly fluid and full of lovingly rendered mechanical gore; even the character designs are massively improved as the artists jump off those hideous early episodes' models and start imitating that classy old Gainax look. Hidomi gets an actual nose that's not just a thin line (for god sake Japan, give your fucking character designs noses again), Haruko starts looking like Haruko again, etc. It doesn't last long--they cheap out on the last episode--but give whoever directed that 5th ep a raise.

To reiterate, Progressive is a mess, and not in some inspired jam session sort of way--it seems to be a victim of budgeting and the production grind. It's like the full first half the show had to be sacrificed to make a couple episodes look good.

Anyway, a brief upswing in visuals can't make up for terrible writing and extremely formulaic episode structures. Progressive just doesn't have the humanity of the original, and you can't hide that with emotionally manipulative tactics like recycling "Runner's High" and "The Last Dinosaur." In fact, it just highlights how empty this show is when those familiar chords that used to make you feel like you were breathing sunshine suddenly evoke absolutely nothing.

When has American money getting mixed up in anime production ever led to anything you can praise without a dozen asterisks attached? By all accounts, adult swim brute forced this thing into existence, and the joylessness of much of the production process is palpable. Those Japanese tweets by some animators floating around complaining about having to deal with "stupid foreign companies" gave me a bad feeling from the getgo.

There's a resentment toward the audience permeating the whole thing. Occasionally they break the fourth wall and patronize the viewer with not-so-subtle lines about how you eventually have to "throw away your old junk" (read: "we're gonna shit all over this beloved intellectual property and you better not whine about it, you manchildren"). Art is a process of constant creative renewal--if something disappoints you, go create something yourself and do it better. That's the healthy approach, I know. But it's not the job of a mediocre cashgrab sequel to tell us that.

The first stage of grief is denial, so expect lots of faint praise for a while. Disappointment takes a while to sink in, I think. Maybe it's a kind of light Stockholm syndrome, like, we know this is what we're permanently stuck with, so we better try to enjoy it, right? I'll just be honest and say it: FLCL Progressive is bad. It could have been worse, and there's about half a decent show's worth of ideas floating around in the ether, but it just doesn't come together. It probably won't be remembered as some kind of legendary blunder, but on the other hand, it probably won't be remembered at all.

Reviewer’s Rating: 3

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