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Jul 13, 2018
I recently had the pleasure of watching The iDOLM@STER Movie: Beyond the Brilliant Future!, bringing my experience with this franchise back to the ensemble that started it all. It was an unexpected round trip due to my checkered history with this franchise, not being terribly enamored with the original TV series--let’s save time and call it “Classic”--falling in love with the Cinderella Girls TV series, trying to get into the SideM TV series to no effect, and peeking back to the closing chapter of Classic out of curiosity
Perhaps my on and off relationship with this franchise disqualifies me from quantifying this film’s place among its
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co-branded relatives. I know not whether I can speak for iDOLM@STER fans, idol fans in general, or even anime fans. I can only speak for myself, but the disparity between Classic and Beyond the Brilliant Future! despite sharing the same ensemble, makes for an emotional core that eludes description
But to be honest, my first impression with this film was rather pedestrian; simultaneously enjoyable while starved for a sign of incoming narrative catharsis. But as the curtain fell on the film’s first act, I realized what this film was about, and from there I knew I was in for something a little special
Beyond the Brilliant Future! is a film dealing in experience, walking side by side with enthusiastic aspirations and tangling with tangible insecurity. At the center of it all is Haruka Amami, thrust into the role of leader as she guides her peers to their first arena concert. Along the way, a group of aspiring idols is taken under Haruka and co’s tutelage. Though the gap in on-stage performance ability between the established idols and the idols in training is obvious, it’s soon clear the established idols, and especially Haruka herself, still have a lot to learn themselves
This is Haruka’s story through and through. Her bestowment of experience and the experience she gains is the canvas through which her character is expressed, painted by scene and song alike. Rain or shine, there are many moments where a certain frankness permeates her feelings. The whimsical fluttering in the early morning sun beyond her cheerful demeanor in the everyday. Her emotional maturity in confiding with her closest friend despite her role as leader, the only visible expressions mere reflections off a nearby window. To the very songs themselves, encapsulating everything from when she was a new idol herself, to the heights she’s reached and the triumph’s she’s had
But where Haruka’s character is most realized is through her relationship with a certain idol in training named Kana Yabuki. The plucky Kana adores the idol Haruka, her nervousness and fervor apparent but never a caricature of either shyness or admiration. At the same time, Haruka’s response to Kana’s intensity never elevates her to being above Kana, but sets them as equals from the outside looking in. At once, Haruka is elated and embarrassed, flattered and flustered, happy to be mentor and nervous -as- mentor, learning as much as Kana is along the way. The balance of humors between them perfectly grounds their relationship. The story understands what being starstruck is while the film understands how admiration acts
Through it all, Haruka runs through an emotional gauntlet as she juggles leading her peers while guiding Kana and the new idols. Throughout the film, the story slowly builds an escalation of tension on palpable worries and fears. But rarely does the story overstep anything it ever establishes; it’s clear their problems are a major obstacle for them, but the film scarcely draws attention to it with manufactured musical moments, instead preferring to punctuate high drama with low ambience. The film has -confidence- in itself enough to let the writing quality of its story come through in its deliberate pacing, to let the character writing express its depth for itself than to cue in for when it’s being expressed
But in committing so heavily to one main character from a cast of characters that was a true ensemble, the film runs afoul of having too many characters that contribute nary a much to the story. Remember how I said I might be disqualified from quantifying this film? I wasn’t terribly enamored with Classic in the first place, so where the film would go in terms of its focal point would be irrelevant to me. It might be safe of me to assume you’d really like movie this if Haruka was your favorite character from Classic, but Kana is the deuteragonist. I’d feel a bit dishonest if I didn’t disclose where I’m approaching this film from
That isn’t to say all of the characters got lost in the shuffle from Classic to movie. Chihaya Kisaragi has the same role to Haruka as before, being a close friend to confide in and be open with. The Producer and Ritsuko Akizuki are also more or less intact, but now distancing themselves from Haruka and her peers as they become the mentors for Kana and the new idols. Most pleasantly surprising, however, is Iori Minase, who imparts a few words of wisdom for the competitive Shiho Kitazawa
While Shiho felt like an antagonist who only expedited what would’ve happened eventually, she’s at least understandable, owing much to the preamble set in the early parts of the film that build to more drama as the story goes on. But the biggest problem with Shiho’s storyline, and Kana’s by extension, is the disconnect between what underlies their aspirations and the cinematography of the arena concert. The story is focused on Haruka and Kana, but the arena concert emphasizes Haruka and her peers. I know this is likely due to what The iDOLM@STER is as a franchise, but the disconnect between them is still noticeable
That’s my biggest issue with that storyline, but it’s overall just a nitpick that’s amplified because of how much I bought into that thread in the first place. Putting that aside, the arena concert song itself, M@STERPIECE, is, well, worthy of its title. It’s a tour de force of the Classic ensemble, as each of their voices stand out when they need to before harmonizing to perfection. The overall feel is nothing if not triumphant, emblematic of their accomplishments. Some of the insert songs are also nice callbacks to when Classic was the only anime The iDOLM@STER had. Definitely a nice touch of the past to accentuate the story-driven songs of the film’s present
But what I found more pleasing than the music were the visuals, and not solely for how good they look in and of themselves--high polish and budget can fade over time--but the direction within them. The film has a knack for communicating in juxtaposition between characters where dialog would be redundant, from the idols in training to Haruka to Miki Hoshii to Chihaya to Iori. And at its best, the film expresses some emphatically poignant epiphanies with nary a line of confirmation. This is part of why the film is often so confident to let the character and story writing express itself, because it can still speak volumes without uttering a word. And I just realized how ironic that is for a franchise rooted to characters who dance and -sing-
Regardless of what the core of the franchise is, I’m glad the original iDOLM@STER anime had this chapter and I’m highly satisfied I checked this out. This was the entry the original series needed, and the film the first face of the franchise in Haruka Amami deserved. Beyond the Brilliant Future! isn’t quite the M@STERPIECE to end a Classic, but if subsequent entries in the franchise can stick to this level of care, then that’s just one more step to a Brilliant Future
Reviewer’s Rating: 8
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Sep 26, 2017
Once upon a time I watched an anime called The iDOLM@STER. It was a likable if unremarkable show, its enclave of characters not standing out, its absence of story robbing their chance to shine, and only the gift of music and concerts to look forward to. The lack of a resonant tale on this first chapter would close the book on this series for many years. But one day, the clock started ticking, the pumpkin carriage was set, and a new generation of idols was ready to take the stage with sparkling glass slippers. This is The iDOLM@STER Cinderella Girls
With no relation to the first
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anime outside of a few posters in the background, these girls are free to ascend the palace steps on their own terms. Uzuki Shimamura, Mio Honda, Rin Shibuya, Kirari Moroboshi, Miria Akagi, Rika Jougasaki, Kanako Mimura, Chieri Ogata, Anzu Futaba, Miku Maekawa, Riina Tada, Ranko Kanzaki, Minami Nitta, and Anastasia; these girls are scouted by 346 Productions for a new venture called the Cinderella Project
But the magic isn’t just in the name. Any 1 of these 14 girls would have trouble standing out without cost to another girl. Limited time with this many characters would force any show to slide the scale between focusing on everyone and nobody standing out to focusing on a few at the expense of others. But this story wrote a miracle unto itself, focusing on everyone and conjuring a resplendent ensemble in this tale, climbing steps that are inconceivable to ascend
It ascends these stairs by personalizing the girls into smaller groups, dedicating itself to focusing on a few characters at a time and letting these subunits tell a tale of their own. Mio and Rin are the classic high-energy/aloof duo, with Uzuki being the balance between them as she consolidates the trio. Kirari, Rika, and Miria create an amusing contrast of a young woman acting like a child, a precocious girl who wants to be a woman, and a girl who actually acts her age. The duo of the quietly forceful Minami and the exotically girly Anastasia create a feminine force balanced by the gothic chuunibyou of Ranko Kanzaki. And the wild rocker Riina and the catlike, feisty Miku who synchronize with each other more than the other would like to admit
If there were one group who shined less than the others, it would be Kanako, Chieri, and Anzu, since the former two are more or less the same character, with only frogs and sweets distinguishing their shy personalities. Anzu, meanwhile, achieves the title of lackadaisical, often coasting along but putting effort when it really matters. The show itself could have coasted along, letting the magic in its name carry itself to Cinderella’s Ball. But from the poignant opening scene to the finale of season 1, this show proved to be something special beyond its namesake
It wasn’t just how much this anime made so many characters shine, but how it connected all of its precious gemstones called idols into a gorgeous narrative crown. No matter what group of girls the tale focused on, it never lost sight of its other characters. Not once does someone outside the episode’s scope appear and feel like an out of place throwaway for fans of the character. They push each other to do their best, help one another through difficult times, compete to be the best, all the while becoming friends even with the most unlikely of partnerships. It is this connection between all the characters that makes every ascension from practice to performance all the more rewarding, each success encouraging another to dazzle even more
However, the magic would not last. As resplendent as Cinderella was at the ball, her magically gifted luster faded as the clock struck midnight. Indeed, the graceful steps that let each of these girls climb on their own terms is abruptly taken from them in season 2. They must now prove themselves better than they envisioned themselves to be, faster than they thought they would go, or the Cinderella Project is done. As turmoil gripped upper management with what direction to take 346 Productions, these idols now had to abandon the ephemeral magic of Cinderella to achieve the everlasting presence of a true princess. The clock struck midnight, but their tale had just begun
And it is not a tale that holds back, forcing the girls to confront problems from within and outside. The person you want to be conflicting with what you’re supposed to be. Feelings of envy and admiration that test friendships more than surface differences could ever hope to. A common responsibility to unite 2 very different characters. Channeling nervousness and anxiety masked by a group to stand on your own. The decisions you make to test yourself because of and -despite- your best friend
What’s astounding is how some of these threads are built over the course of season 2, introduced in one episode as a road while other stops tell their tale along the way, only for the road to reach its destination after sitting just on the horizon. It plays the short fable and the longer tale, using the former to build the latter and using the latter to unify the former. And despite how emotionally thick the show can be at points, it never goes too far (except for this one episode in the middle of season 1...). There’s either levity at the right points or the characters are tested but never soured
And nowhere is this tale more emotionally loaded than in the final chapter of season 2. An impeccable combination of close-ups, dialog, and even character positioning slowly build the strongest narrative this series has put to screen. From the clenched fists in its conception to a bridge that exemplifies the road a character takes, this is when the show hits its hardest with no reservation. It’s easy to see where it all goes, but it approaches like an inevitable tragedy instead of an innocuous predictability. But what tops it off so perfectly is how the resolution is anything but perfect, turning the fairy tale on its head. It’s this grit that pushes season 2 from an improvement over season 1 to an astounding tale in its own right
The iDOLM@STER Cinderella Girls needed season 2, and season 2 needed -this-. This show could have been content with a perfectly likable cast, but it goes the extra mile to stress test them from within and outside. To create empathy and a meaningful connection with each of them beyond surface likability. To test their own friendships and come out ever closer. In effect, this is a cast-driven tale motivated by individual hopes, dreams, and fears. And complementing this poignantly resonant tale is an astonishingly great soundtrack
And I don’t just mean the memorable melodies from the subunits. From ‘Theme of Cinderella Girls,’ a light piano piece that transforms into a mixture of vocals and other instruments that exemplifies the sense of a new adventure, to ‘Passione,’ a wonderfully jazzy tune to fit with the hectic goings on with the characters, the less obvious music tracks do wonders in keeping every episode lively before the main event starts. But equally impressive is the show’s capacity to hold back its music and let the dialog and characters speak for themselves. It knows when to play, but it also knows precisely when to have confidence in itself to let the audience witness events unfold. It wields energy and silence perfectly, to say nothing of the superb songs from the subunits
‘Freshly Evo! Revo! Generation!’ is a reflective rhythm that captures the enthusiasm of New Generation, while ‘Trancing Pulse’ is saturated with a soprano reverberation befitting of the powerfully passionate and cool Triad Primus. ‘Memories’ from Love Laika marries femininity and coolness, creating an unexpectedly strong melody from the most unlikely of idols. 'OωOver!!’ is a journey in itself, opening with onomatopoeic ‘nya’s’ before it rocks out into a proper song, echoing the tale behind Asterisk. And then there’s S(mile)ING!,’ a solo serenade that begins in simplicity and ends in triumph, the pitch of lyrics adorned with louder and louder vocals as it culminates in a cathartic crescendo of happiness and resolution
There are many more songs and instrumentals in this tale, as these are just the ones I liked the most. And I’d be remiss to not talk about how good the performances accompanying the songs are. Every concert is fully animated in traditional 2D style when it would’ve been quite easy for the show to use 3D models. The end result from song to song encapsulates every girl’s expression and movement with every song’s style and rhythm, making the tale that much more of a labor of love than love manufactured by labor
If there was any problem I had with the animation at all, it’s season 2’s tendency to cut away from performances, though this is more of a directional problem than an animation one. But it’s a minor grievance, as the songs and performances are the send-offs to splendid chapters rather than a crutch for a lackluster story. It’s not a problem I’m excusing, but it’s definitely worth noting for anyone who wants more dance with their song
But what’s magnifique about the visuals, especially in season 2, is the direction behind them. Though the final chapter is the best at this, the tale is scripted with powerful visual direction. The juxtaposition between an idol’s nervousness and the audience’s indifference to reflect her helplessness. The resolution between self image and expectation being hidden before a wide shot reveal. Two older characters having a heart to heart while one of them is obscured by a shoji wall to hide her vulnerability as she confides in the other. Or a quirky example from season 1 that cleverly deceives its audience
The tale is as creative with the camera as it is diverse with the designs, and with 14 idols one of them is bound to be easy on the eyes. From the gracile and mature Minami to the younger and rotund Kanako, the Cinderella Girls have no need for the sorceries of fanservice to let their luster shine on its own. And indeed, the charm of personality to harmonize with their appearances is all the show does and needs. I’m still shocked I liked -Miria-, since her archetype is the last thing to blip on my radar
But The iDOLM@STER Cinderella Girls isn’t content with likable archetypes to distract until the music starts. It strives for characters tested as they emerge more resplendent, singing in jubilation. Its visuals don’t coast on its budget, but ride a creative brilliance. These girls could have been content using the franchise name alone, but they ascended higher than even the palace steps could reach. Though the midnight strike makes the magic ephemeral, their majesty is endless, their hopes and dreams real
Reviewer’s Rating: 9
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Jul 7, 2016
High School Fleet is directed by Yuu Nobuta, scripted by Reiko Yoshida, and made by Production IMS, the story kicks off with Akeno Misaki enrolling in Yokosuka Marine High School with hopes of becoming a Blue Mermaid and keeping the seas safe
So first off, I have to congratulate Nobuta on the way Akeno is developed through aesthetic cues. She doesn’t get much more dialog than the other characters, but it’s still distinctly her story. And the show achieves this because it turns the wheels of her mind without being overbearing. Through her actions and interactions with everyone else, the show knows how to reflect who
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she is without making the mirror obvious. And that’s how character development should be; don’t let the puppet master’s strings be noticeable or it breaks immersion in the show
And that attention to detail is especially important because of what the show deals in, mainly Akeno being called into action for a situation she isn’t entirely ready for. It achieves this balance of someone being competent at what they do, but illustrating she isn’t entirely there. Her way of thinking unbecoming her position and her lack of experience gets called into question several times in the story. And with each successive naval battle, her mental limits are pushed as her strategies are forced to be more unique
This also brings up another of the show’s strengths, that being its tactically driven battles. Not only is Akeno unprepared for this conflict, but the ship she commandeers, the Harekaze, is far from top of the line, with only its speed and agility being any advantage it has to the other ships. But despite being pushed into increasingly intense battles, the Harekaze never punches above its own weight. It’s often all it can do to neutralize or even escape other ships without outright beating them, and that’s the way tactics should go. The show knows strategy deals in exploitation, not omnipotence
The show is also aware of who its main characters are, and doesn’t bother much with focusing on anyone else because it’s unwarranted. Mashiro Munetani is a great foil for Akeno and Rin Shiretoko has a nice character arc, but the rest of the crew are there to fill out numbers, be quirky, and deliver levity. And they work for the most part, not being as funny as they should be but knowing when to be humorous. They’re cheesy, one dimensional characters who are a lot of fun and do what they need to do. So kudos to Reiko Yoshida for writing great main leads with a fun side cast
Unfortunately, the show has a problem starting its story even though it knows how to keep it going. Certain plot elements used to ignite the fuse of conflict are bizarre to the point of breaking the suspension of disbelief. And these plot elements are brought up a few times throughout the story. Not enough to be overbearing, but enough to tell the show wants these elements to be taken seriously. And that’s really the only time where it’s easy to go “you guys are getting paid for this story and THIS was the best you could come up with? Seriously?!”
And while certain plot elements are totally bonkers, the presentation for the show is totally…serviceable. Nothing looks beautiful but nothing is ugly, and the CGI used for the ships is noticeable but isn’t forced to share space with the 2D animation. The visuals shine in terms of what each shot conveys from Akeno, but the visual polish itself is nothing spectacular either way. The same goes for the soundtrack, which has a nice opening and ending number from TrySail and Luna Haruna and that’s about it. Production IMS’ work on the aesthetics is unremarkable
But the way battles work in this show, gorgeous animation would’ve been a nice bonus when passable is enough. Don’t go into it expecting top of the line production values, but do expect some great leads, tactical combat, fun characters, and mostly solid storytelling with a few very stupid elements here and there. It doesn’t promote to Generally high ranks, but it’s a Major blast to watch
I’m going to give High School Fleet a B
Reviewer’s Rating: 7
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Sep 16, 2015
Things aren’t always what they seem. Despite featuring an all-girl ensemble at a high school club, Stella Women’s Academy (otherwise known as C3-bu) is a deceptively heavy anime in familiar lighthearted trappings. It’s easy to dismiss it as ‘K-On! with guns,’ and easier to be hooked to a surprising degree.
The story follows the fairly normal Yura Yamato, who joins Stella Women’s Academy in hopes of changing herself to be more outgoing and confident. After being charmed by Sonora, the thrill of battle, and Sonora, she joins the club C3-bu. C3-bu dedicates itself to survival games, which you can think of as laser tag with air
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guns instead of lasers. Air guns aren’t as fancy as lasers, but we get a decent variety of weaponry from pistols to sniper rifles.
That’s some pretty involved design for what’s essentially a Nerf battle, set over the top in charming fashion by the way Yura sees the world. Early on, she has what I like to call ‘war vision,’ where every survival game takes on the appearance of a real battlefield. I recognized ‘storming the beach’ and the rubble pile adobe houses of the middle east, but there’s assuredly more references to real locales I’m not aware of. Though the ‘war vision’ is in her head, it’s a great way to show how much fun she has in survival games.
Maybe a little too much fun.
Yura joined Stella Women’s Academy in hopes of changing herself, and then joined C3-bu because it’s a lot of fun. Unfortunately, the fun she has playing survival games never addressed her self-esteem problems, and that’s how the anime really takes off. To say she takes quite a turn in the story implies she suddenly switches personalities, but there’s a deliberate effort to show her changing little by little (the cowboy scene comes to mind). The result is a strong character arc for what is essentially Yura’s coming of age story.
Unfortunately, nearly everything else about the writing isn’t up to snuff. Rento, Karila, and Honoka are little more than accessories to Yura’s development. The good thing is the anime rarely pretends the former three are relevant. It knows C3-bu is Yura’s story, though the club itself is lead by the rambunctious tomboy Sonora Kashima. Sonora foils nicely with the aloof and prideful Rin Homu—er, Haruna, and they both make up for what the other three lack.
If there’s two more things to fault the anime for, it’s a plot element that shows up at the halfway and endpoint of the series. It’s little more than a really out of place plot device to force the story forward. Because the author had writer’s block, I guess, but the second iteration of it leads into the last problem, the ending. C3-bu’s ending suffers from extreme convenience and WTFery, nearly neutering the strong story it built for Yura.
…it’s a Gainax ending.
On the other hand, the ending song, ‘Shoot ‘em! C3 Club!’ by Stella Women’s Academy (this is the actual group name) is an energetically catchy bundle of lyrics and vocals that marks as one of the few endings I never skip. It perfectly reflects the anime’s more fun side, making a nice contrast with the opening song. ‘Shape My Story’ by Anno Yano is a more thoughtful piece dedicated to the more serious moments in the show. There’s a few tracks within the show that are noticeable, but they’re overshadowed by these two numbers.
I just wish there was a music track that blended the serious and the silly the way this anime did for its story. But between a lot of accessorized side characters, forced progression, and Gainax ending, the story itself was far from perfect. But in my occasional fits of chuunibyou, it DOES make me want go out with guns blazing; C3-bu was a fun little distraction, and that’s all I was really looking for.
Reviewer’s Rating: 7
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