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Jun 17, 2024
All right. Gundam SEED is out of the shade and since nobody can figure out what to think about it, I'll drag myself out to germinate another, unpopular opinion, too. Let's get this out of the way: Gundam SEED Freedom IS fanservice! It's NOT a new spin on Mobile Suit Gundam, it's NOT a perfection of the medium, it's NOT an innovative approach to storytelling, and I'll tell you why shortly. Instead, this movie is exactly what it needs to be: a celebration of the Gundam universe, mecha, and a literal love letter to the dearly departed Chiaki Murosawa, wife and writer of SEED series
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director Fukuda. Does that sound "STELLAR!?"
Twenty years since Mobile Suit Gundam SEED, Gundam SEED Freedom has burst into theaters, but not everybody is celebrating; like a seed, itself, the Cosmic Era grew divisive from the outset. Some people think of it like a colorful weed, leeching off a more lively Gundam branch, while others think it is a beautiful flower with its unique and colorful petals. Indeed, Gundam SEED has a habit of growing into something totally different from its beginning. Regardless of which camp you might fit into, though, there are objective points to be made about this movie, first and foremost with its tone and themes. Like Doctor Who, Lupin III, or Final Fantasy, Gundam is a franchise that is all over the place with its setting and tone, so you're never quite sure what to expect.
However, what you probably WOULDN'T expect is that Gundam SEED Freedom focuses entirely on the concepts of love and emotion, far removed from the themes of racism, war, and determinism which entangled the original SEED and SEED Destiny series! Indeed, protagonist Kira Yamato has gone from pondering the rights and wrongs of two sides, caught between coordinators and naturals, to essentially being the only correct, third option, and that is a potentially interesting place for a character...except that we never got the solutions to stopping division. Even Kira, himself, seems baffled when the new antagonists show up and the concept of love is suddenly introduced as the central element around which all cause and effect in the Cosmic Era revolves.
Truly, nothing justifies the shallowness of psychology and philosophy in Gundam SEED Freedom, especially in a universe that previously appeared to pride itself upon pompous prattling, surpassed only by pontificating seinens like Legend of The Galactic Heroes. Rather, it can only be presumed that director Fukuda wanted to emphasize his prevailing sentiment toward the source material and those of its fans, and it shows in his pacing, both positively and negatively: don't look away or you might miss something. Yet, you also might not care because this script is on cocaine.
Sans spoilers, the protagonists, being the only correct option in the world, are beset by new enemies, a previously unmentioned nation of super beings called "The Foundation" that not only have the combat ability to best our heroes, but the telepathic pheromones to ruin previous relationships, too. Kira and Lacus separate, and we are left to question whether the cast is necessary now that these new guys are so much "better." In a runtime of a mere 2 hours, two entire shows worth of character casting must be developed, expanded, but I expect most importantly, just SHOWN!
There's over 60 characters here. Does anyone remember Meyrin from Gundam SEED Destiny? She has two lines. Does anyone remember Gladys' son? He's in a couple of scenes. Does anyone remember Kuzzey from Gundam SEED? They got him, too! Every breakneck scene in this movie is made for fans of Gundam SEED, and that's really the clincher, isn't it? Sure, there isn't much of a message being taught, but there's a nice sentiment. Fine, there isn't a grand, overarching plot, but there's reasons. Yeah, there's more homages than world development, but that's why we waited twenty years.
We fans waited TWENTY YEARS for Gundam SEED Freedom and I'd be gosh-darned if some script and theming issues could somehow ruin what this movie accomplishes so well: satisfying a fan-base. Star Wars can't do it. Star Trek can't do it. Heck, those franchises can't even decide what right and wrong is anymore, much less who's important.
Here, after hearing for 100 episodes how great she is, Lacus Clyne has finally something interesting to do. She is given an origin, a decision, and a resolution. Athrun has his head on strait from the beginning, too. He is a complete character without being reset again for the sake of story. Best of all, with the theme of love, we have payoffs for every relationship that was teased since the early origins of the Cosmic Era. All of this is carried with some of the best, most ridiculous, and punchiest, mecha combat in the genre to the point that audiences were clapping in the theaters. Naturally, I did watch this in an American theater, so take that with a grain of salt. This movie expands without dimishing!
While the art in the theatrical release might not convey this high production values at all times, the presentation and the perpetually STELLAR musical score remains a treat in Gundam SEED Freedom. The pop music is back, nearly every mobile suit and character retains their motifs, and the blend between modern and classical design is reverent as always. In what other genre, medium, or franchise is physic, comedic nudity accompanied in the same production as an introspective visit to Nike of Samothrace? None, my friend, none, and that's the point!
This movie isn't perfect because that was never its intent. Rather, it's either the rapturous revival of the most popular alternate universe in Mobile Suit Gundam, or most likely, a previously unrealized sendoff to treasured characters (and their loving creators.) Those that fail to see this intent will undoubtedly despise and look sideways at this entry, but to fans like myself, I am left not only satisfied by the conclusion, but impressed; if Gundam SEED should grow, then I would be glad to water it, but if it is content to bask in the sun, Gundam SEED Freedom is a fine blossom.
It's STELLARRR!
Reviewer’s Rating: 9
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Mar 13, 2023
It's hard admitting when you're wrong, so boy am I hard right now! Like many others raised on Adult Swim programming, I have been a fan of Vash since I was a wee lad, and was positively giddy to see him return for a new entry in the series. 1998's Trigun is a classic story of the long-suffering do-gooder who's villainized, but nevertheless prevails against all odds. To see that depicted in 2023 was a prospect which had fans excited; we were all coming home again so fast you might even call it a stampede! In fact, it was called that: Trigun Stampede! However, now
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myself and others are all running the complete opposite way. Why?
tl;dr: Nobody knows how to write anything but "dark" action anymore; Trigun Stampede is not FUN!
Admittedly, Trigun Stampede started off doing everything wrong. The old, western aesthetic of the franchise was forsaken for a complete science fiction overhaul, Vash the Stampede seemed to be a Generation Z insert without any style of his own, and other beloved characters were either getting bashed with the ugly stick or axed completely, like Milly Thompson, who was replaced by some guy named...Roberto De Niro. Yet, once the first episode aired and we saw Vash running amok in the city being wrongfully blamed for everything, it was as if none of that actually mattered, except it did; never ignore red flags, even if they remind you of Vash!
True, while the first few episodes do capture some of what made the original Trigun so beloved by presenting a wacky protagonist with lofty ideals, an anachronistic world, and a tone which is all over the place, Trigun Stampede soon loses everything besides the violence and unkindness which previously punctuated only serious moments. The message of hope and sticking to your morals is shoved deeper and deeper into the ground as countless gratuitous blood-sprays, child sacrifices, and cult-like conspiracies take up more screen-time. This tone is completely antithetical to the character of Vash the Stampede and the spirit of Trigun since we, the viewers, do not get time to connect with the good before being bombarded with the bad. Nowhere is this more apparent than in the character of Nicholas D. Wolfwood, which fans will recall as a complex compliment to the rest of the cast, especially Milly Thompson (RIP).
This Wolfwood isn't even the same character on paper, much less on screen, and without Milly around to ground him, he might as well be completely written off along with her. Instead of getting time to discover his backstory as a "priest" who practices absurd amounts of righteous violence, all that remains for us, again, is the violence. By episode FIVE of this show, Wolfwood is already at odds with Vash without having any relationship with him or anybody else. For reference, he was only introduced in episode FOUR! What gave Wolfwood's character meaning was how he related to the rest of the heroes while also having a rough edge. Now, he is all edge and no substance, except for his awesome weapon. As a result, the other characters suffer, too, because Vash has no friends who challenge him, Meryl has nothing to do but drive cars, and Roberto has no skills at all.
Why are they telling this story if these characters have nothing to do with the themes? Why is Vash just bumbling around the desert while innocent people croak? He should be saving others at his own expense! Why is Meryl not doing any reporting if she's a journalist now? She should interact with her business partners, just like in the original. Why does Roberto De Niro exist if we already have a gruff, edgy guy like the new Wolfwood? Someone should be a goofball to make this thing interesting. There doesn't seem to be anything for these characters to do but survive the nihilistic villains, which only show up to kill off no-names. WHERE IS THE FUN HERE, what's the message!? Why should we care this time!? Where's the dang black cat!?
Trigun was not a show about guns any more than Gundam is a show about mecha; it's about the characters and story. This is what writers no longer understand. You are writing for people, who need to see these characters as people, too, before the story and action happens. You can't have the villains just show up and do bad things for no reason. You can't show us the backstory FIRST! You can't tell us that our new friend is a traitor in the same episode we meet him! This is basic drama, and getting rid of the drama is like rebooting Romeo and Juliet and starting it in the tomb with the dagger already in their hands.
I almost loved Trigun Stampede. It starts off all right, but I was wrong. What's ultimately sad is that the action scenes and art are genuinely entertaining. The animation, while subjective, is great, stylistic, and fluid. The action is punchy, bombastic, and engaging. The music, too, is fine and the opening truly gives you some sense that Vash is being haunted by a completely decaying world, but there's nothing to this world, anyway. There's nothing to this version of the story. Perhaps if you enjoy actiony, monster-of-the-week type of dark stories, this will appeal to you, or if you are desperate to see a fan-fiction of Trigun come to life, but does this appeal to many fans at all? Everything else can be perfect, but if you give your characters no love and the plot nowhere to go, nobody will watch. The only thing Trigun Stampede has me running to is back to the original show, created back when writers knew about theming and not just making something "bad ass." Go watch the old one.
"So, it's been a lot of fun, but I guess that's all!"---Vash.
Reviewer’s Rating: 6
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Jan 4, 2016
Probably the only anime watched by the NSA, "Terror in Resonance" is the type of show that only comes around every few years; the kind that reminds you why you watch anime while everyone else watches balls being kicked down a field, or balls in general. It takes you back to the realization that all anime isn't artistic absurdity, but provides an extreme twist on reality that makes you think, brings you closer to the edge of sanity and maybe even truth. Despite being a thriller about extremism---in fear of a more taboo word that'll get us on a watch-list---Zankyou no Terror manages to be
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more profound than it is dire, and far more heartfelt than it is heartless. A complex product, this review focuses on what makes this show stand out.
Following two brilliant young zealots calling themselves "Sphinx" aiming to blow up Japan, the story is a chain reaction between law enforcement, the public, and outside governments trying to apprehend Sphinx. The first difference between Terror In Resonance and other shows claiming to have "brilliant" characters is that these ones seem to actually know things. Before each detonation, Sphinx gives a riddle, a classical mythological or philosophical enigma to be solved in order to reveal the location of the next bomb. Not only is the solving of riddles a potent spark for character development, but it's also a rational process; practically every episode informs the audience of something worldly, and despite the story's bombastic frequency, the show never falls into the trappings of stagnation, unlike the puns being made here. Instead, a rather methodical beginning turns into a heart-racing second half, which could throw some viewers off. From Law and Order straight to Mission Impossible, Zankyou no Terror might not be consistent, but it is entertaining. Every intelligent development is unexpected.
Almost everything in Zankyou no Terror is a subversion of its apparent genre. From the team of investigators, featuring the middle-aged Sherlock-figure Shibazaki at the helm, one might assume it's yet another "catch the villain" narrative. However, the viewer learns quickly that our bombers, Nine and Twelve, are not the one-note villains that other shows might portray. They're youthful, naive, and their devotion to their mysterious motives are the driving force of the show, not the solving of their riddles. Additionally, Lisa, a civilian girl who gets involved in their plot, further humanizes them and turns an otherwise stony cast into a lively one, just with her innate power of kawaii. Though by no means an interesting character in her own right, her function elevates the show above other thrillers, and forms the most memorable scenes. Admittedly, while it makes sense why she admires Nine and Twelve, the public's sub cultural admiration for Sphix doesn't make any sense whatsoever. It's like clapping for two guys who just urinated in your cheerios just because you hate cereal companies. In the end your cheerios are still soggy, so unless you really hate dry cheerios...you probably shouldn't side with the zealots. It's not a big plot point, but it doesn't make sense.
Artistically, too, you're looking at a higher-than-average production, where the backgrounds are beautifully rendered and realistic, despite the animation sometimes appearing linear. The animation sometimes looks too line-y, like it was chiseled and not sanded. It certainly could be a stylistic choice, but it's too inconsistent in the subdued scenes, despite the action moving extremely well. Subdued, in fact, is a fine way to describe the art in general, adding to the realism which is contradicted only in the most powerful of scenes. During these scenes, though, it won't be the crisp visuals that steal the show, it'll be the wonderful soundtrack. Don't skip the opening, for it captures the essence perfectly. Vocal tracks, both English and Japanese, dominate the most iconic scenes which won't be spoiled here. A small double edged sword between artistry and realism follows, in which Engrish creeps its way into your ears. You can't fault it for that because bilingualism is awesome.
What one can find in Zankyou No Terror is the kind of anime that used to be. In no other medium would you find an animated show about two young extremists out to haunt a nation, and have that show be all at once heart-pounding as it is subdued, as well as romantically classical in more ways than one. It isn't anime for the sake of being anime, or ridiculous because it's allowed be; it's realistic until it can't be, whereupon it becomes artistic and conveys something. It's mature, exemplifying why anime became popular in the West, and this reviewer can't recommend it heartily enough.
Similar shows: Death Note, Monster, Cowboy Bebop, Serial Experiments Lain, Texnolyze.
Reviewer’s Rating: 9
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Apr 16, 2015
Some people think Gundam is the Japanese Star Wars. Well, we can safely say this is Episode One. I dread that newcomers to the franchise will see this OVA and judge Gundam Universal Century for it, because despite being a prequel, there is practically nothing here reminiscent of the classic show, or even most other entries. Even worse, it insults and bastardizes almost every character that the fans love. It has no reason to exist, and coming from a guy who's seen about 60-70% of all Gundam anime currently, that's immensely disappointing. Let me explain, using the prologue as a demonstration:
The story immediately rushes off
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to a sweeping space battle sequence featuring an adult Char Aznable, cleverly shown in the trailers to get fans hyped for the lovable, masked antihero. Then, after about five minutes, it ends, and we never see anything impressive like it again. Instead, we cut years into the past to Char's father hollering about the political lynching that's about to befall him. After this, he storms into his children's bedroom, where a cartoon cat shrieks in a slapstick manner and climbs up the bed post. He hugs his child, Artesia, lovingly. A minute later he's shown dying before a speech. Finally, the kids attend his funeral and scream obnoxiously at his corpse for no reason. That's the prologue, folks, killing off Char's father, who we've wanted to see since 1979, in three minutes! The other shows portray Zeon Deikun as an enlightened leader, so why was he shown as a raving, paranoid, messianic lunatic? Canon-concerns aside, we go from action to intrigue, then from comedy to love, and then finish it off with morbidity in a span of about ten minutes. Who directed this thing and haven't they ever heard of tone? What am I supposed to feel here?
Indeed, these questions permeate the entire OVA! Every time something serious happens, the cartoon cat, Lucifer, comes and acts silly, or something with an entirely different emotion is introduced. You see, Gundam usually has either a militaristic or adventurous tone, and when Tomino is directing, it can even be jovial. This OVA tries all of these tones at the same time, ensuring the viewer never knows what emotion is trying to be conveyed, and it happens at the same breakneck pace as the prologue. Also, in the proceeding pseudo-industrial era space setting, you'll spend the next hour, completely separate from anything Gundam-related. That's right, there's no Gundam in this Gundam. There's very sparse mecha, no science to speak of, no character introspection, and no philosophical banter. There's nothing here for Gundam fans, and the fan-favorite characters are now little kids who scream a lot.
You heard me right, the story portrays the Deikun family as an impotent family who, by some miracle, managed to come to political power and then surround themselves with Zabi family despots, then cry when they get eaten by obligatory treachery. Their entire role in the story is to helplessly watch as the Zabis take over the outer space republic of Zeon, which of course, Gundam fans already know about. We already know the fate of Zeon. This begs the question: what's the point of this OVA's story? There isn't one. It exists solely to bastardize what could have been a much more interesting story, the story every fan already had in their imagination. At least you get to see familiar faces, though...
Familiar faces without familiar souls. There are essentially only three characters because the rest of them are Zabi family one-note villains. There's Ramba Ral, Char, and Artesia. Char is present in name only, however; not only does Char act like a vengeful brat when in all other portrayals he acts calm, but also he tends to be extremely reckless and unrefined. Char outright says to the Zabi family that he's going to take revenge at one point in the story. He's an angry kid, but fans never wanted to see Char as an angry kid. Nobody wants to see this version of Artesia, either. She is a toddler who shrieks and sobs. However, they do get Ramba Ral right; he's the honorable military guy with a heart of gold we know from the original show, at least when the cartoon cat isn't stealing his scenes to make them more upbeat. You know, upbeat, like military mecha anime!
Really, the only absolute joy of this OVA comes from the production values. The characters look great with a retro vibe, and the action scenes are done in a dynamic 3D the likes of which haven't been seen in a Gundam show before. It was exceedingly wise of the trailer to show off these action scenes, as well, to put the best foot first. Of course, it is slightly jarring to go from stunning 3D action to 2D forced melodrama or misplaced comedy, but that's the issue with production budgets. Musically, the soundtrack is also impressive, just check out the trailer and listen for yourself.
Actually, watching the trailer is sound advice. You miss out on nothing by simply watching the trailer and saying you saw the whole OVA, first five minute action sequence aside. If you're a Gundam fan you already know what happened in this OVA, and your imagination probably fills in the gaps far better. The trailer presents the potential that was unrealized: a fiction with historical allegory, an action space opera. What we got is a confused melodrama, a glorified prequel storyboard that, like Star Wars, has no idea why its original source material gained popularity. If you're a newcomer you'll be completely lost, and none of the events will have any meaning to you. Don't fret, I am a longtime fan and they have no meaning to me either.
Reviewer’s Rating: 5
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Feb 6, 2015
What Steins;Gate does can accurately be described as pandering. It panders with such gusto that the anime has been confused with a masterpiece by a fanbase that is spellbound by being spoon-fed memes and eccentricity. People have heaped so much praise for this show that the glaring blemishes of its characters and pacing are often neglected, so it's time to attempt to change that. Keep in mind, this is a good show, it's just not flawless!
The story's protagonist has about as much trouble picking a name as this show has picking a genre. Okabe "Hououin Kyouma, Okarin" Rintarou is a supposed mad scientist who operates
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in a quaint apartment, which he so endearingly calls a lab. Mayuri Shiina, his personal sidekick, mindless husk, and jailbait also works with him, along with his fat hacker, otaku, and token pervert, Itaru Hashida. They call it a lab, the viewer can call it purgatory, because the next eleven episodes consist of listening to these characters babble about noodles, bananas, anime, and internet memes.
Anyway, sometime after the mind-numbing dialogue, maid cafe replete with cat ears, perverted jokes, and other hijinks, they invent a way to send text messages through time and change the present. Finally, what follows is the science-fiction thriller that was teased by the first episode! Still, though, since this is time travel we're talking about here, you basically know what to expect from the story: something that is relatively pointless as a whole, because time travel means that no development is permanent. True, while the pace certainly recovers and redeems Steins;Gate from its slog of a first half, its characters and setting do not.
Okabe, Mayuri, Itaru, and later Kurisu, a blatant tsundere, are the most transparent characters you can find in anime, not just because they're generic, but because they exist solely to milk the audience. Okabe is the least offensive of them, but for over half the show he doesn't act like a human. He is a walking, talking weird-machine, alive only to bring a contrasting spirit to the otherwise extremely monotonous cast of characters. 50% of all dialogue scenes can be summarized in three steps: Okabe says something whimsical, Kirisu protests him, then Itaru puts him down sarcastically. More distracting than this obvious formula is that Okabe is really only there because anime fans tend to view themselves as eccentric and awkward geniuses, themselves. Hence, every time Okabe gives a villainous laugh or says something extraordinary it's because absolutely nothing else is interesting about the scene, not as a result of an emotion or thought like a real human being.
Speaking of humans, why didn't one write a personality for Mayuri? Oh, because she's only there to be cute for the audience and to be harassed by Itaru, who's the most unforgivable sin of Steins;Gate and the sole reason the dialogue scenes are so unbearable. The writers must have gone down the checklist of demographics and saw they were missing a character who spouted memes, so they threw in a fat guy who just happens to be tech-savvy. Not only that, but Itaru's a pervert, as well. How convenient to have so many comedic cliches in one character! Unfortunately, fat, try-hard, obsessed virgins are extremely difficult to like, and comedy doesn't work when you've already heard the punch-lines, kind of like how tsunderes don't work when that's their only trait. Kurisu, who's a red-headed mate for Okabe, plays hard to get for the entire show until she decides not to anymore. Anime fans enjoy when an elusive, intriguing mate succumbs to their geeky charms, right? Her eyes are as empty as her character.
Did I say empty eyes? Well, that's the trademarked art style of this here masterpiece. Since the characters are empty, anyway, the artist apparently decided to give everyone in the show empty, soul-less features. Naturally, this extends to the colors of the show, which have all received the Harry-Potter treatment. That is, every last bit of color and energy has been siphoned from the show to make it more stylish. Everything is a pale blue or bright white, which gives Steins;Gate a presence of light and darkness, which admittedly works well when paired with the unique, doll-like appearance of many of the characters, but also makes things pretty drab to look at, too.
So, are you a nerd who wants to live vicariously through characters who do nothing but try to ingratiate themselves to you? Perhaps you're thinking time travel is cool, but you'd really like it in the form of a slice-of-life anime? Maybe you're tired of characters who have reasons for what they do, instead of just doing things because they seems wacky? Or maybe you want characters to talk nerdy to you because your anime club's been extra stinky and pretty full of hormones lately? Well, Steins;Gate might be for you. After all, it's certainly trying to be!
Reviewer’s Rating: 7
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Oct 18, 2014
"Daddy don't fart in front of people!" Is only ONE of the philosophical adages from Mobile Suit Gundam-san worth quoting for hours to come. This show is hilarious, but it is imperative that you watch Mobile Suit Gundam before watching Mobile Suit Gundam-san. It's a sad fact of life, even sadder than that the "episodes" (I prefer to call them epics or neo-bibles) are only 3 minutes long, so you know it's quality.
The art in this show is rendered in stunning, eye-blazing two-dimensional slide show format with minimal actual animation and seldom use of anything else. It must have cost several things to make! Kill
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La Kill was obviously inspired by Mobile Suit Gundam-san.
But, what about the story? Well, that's not really important.
Auditory bliss is what I would call the sound. There's no dub, but I'd pay Funimation to make one. In other words, an A+ for the sound. You can rate this as helpful, now. What can be said about the characters in Mobile Suit Gundam-san? All of them come from somewhere else. There's a few original characters. They're all for the birds. Get it!? No? Well, you better see Mobile Suit Gundam-san, then!
In other words, best show I've ever seen. Quote it daily to my Mobile Suit Gundam fan friends, in other words nobody because I don't have any. Friends that is. This show is funny enough to make friendlessness feel okay.
Reviewer’s Rating: 10
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Jun 16, 2014
Hey, Mobile Suit Gundam Unicorn is finally a complete package and it's great, but who wants to read gushing? Not me, and I baselessly suspect I'm not the only one who combs through reviews for the most critical ones instead of the most adoring ones. With that said, this review will explore what makes Unicorn either worth mounting or nay, so saddle up!
Let's start with disclaimers: watching previous entries in the Gundam Universal Century is optional, but it is a highly advisable option if you want to get the most out of Mobile Suit Gundam Unicorn. You will be able to follow the story, but
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scenes will definitely be lost on you. Also, for newcomers, the ending will make your brain leak out of your britches, so prepare a fresh set.
With that out of the way, the story begins like most mecha shows in that a young boy, in this case Banager Links, lives in a nice little space colony. After everything that happens to a nice little space colony happens, he finds his way to a super, awesome prototype mobile suit, a weapon called the Unicorn Gundam. The one who possesses the Gundam has the key to Laplace's Box, a mysterious secret that has the power to turn the tide of the war. Hence, since both the Earth Federation and the remnant peoples of the outer space nation of Zeon desire Laplace's Box, Banager becomes the fulcrum of the conflict by default. What a conflict it is!
The fights and action in Mobile Suit Gundam Unicorn are spectacular, making several minutes of clashes between nameless grunt mobile suits highly entertaining to watch. This is doubly true when the battles are set against the grand sound track or the commendable, if sometimes long-winded, backdrop of the philosophical character dialogue that this series loves.
However, the biggest problem with Banager Links as the protagonist---and indeed the show itself---is that he rarely involves himself in the conflict at all. It becomes obscenely common for Banager to strap himself into his machine and fly into every battle to make emotional pep talks with absolutely nothing of consequence happening as a result. He feels his way out of situations and screams his chipmunk head off about how everybody is wrong. This, of course, solves nobody's problems, fails to advance the story, and even agitates the situation, as it should. The problem is that it can quickly irritate the viewer, too. If you are a mature viewer intrigued by the war drama aspect and practical conclusions to conflict, Banager's naivety will infuriate you almost incessantly until you will have to get your enjoyment from the other characters. Finalizing on that, if you enjoy your protagonist to best opponents through strength, skill, or smarts, you'll be gravely disappointed by Banager's complete reliance on his mobile suit; it's to the point you'll be surprised the Gundam doesn't brush his teeth for him before bed.
Thankfully, the other main characters tend to make up for Banager's lack of depth. A renegade princess who actually has a goal, a desperate young soldier at odds with his station in life, and an adoptive father trying to atone with his daughter make great highlights of the show. They bring forward one of it's strongest aspects: emotion. Gundam tends to utilize emotion well, even exploiting it heavily, but this entry revels in that fact, making every main character a hook for your empathy and investigation. Side characters are a different story, though.
Sometimes, a character that another met only once conveniently becomes extremely important to them for no real reason other than presumable horniness, love at first sight, or advanced understanding; in the Gundam's Universal Century timeline, evolved humans called Newtypes are much more in-tune with those around them, as well as other dimensions. Becoming invested in someone hastily makes sense for a Newtype, but it doesn't work for the viewer, who cannot appreciate these side characters without proper development. You might be dissatisfied to hear yourself ask "who was that?" during an apparently important scene, not knowing why it was important or why they were there, no matter how keenly you were watching. It isn't too frequent, but it does happen more than once, and it doesn't so much mar the show as much as it seems like missed potential, which is a sentiment that it shares with the plot.
As everyone searches for answers to Laplace's Box, the viewer is along for the ride, but never allowed to speculate because placement and destination is ambiguous. Outside of the concept of Laplace's Box, its identity not revealed until very late in the progression; for all you know it could be slang for a part of a female's anatomy. So, make no mistake: your enjoyment of Mobile Suit Gundam Unicorn mostly hinges on how willing you are to indulge in an elongated, science fiction action-movie with sappy themes. Although each of the large scale action scenes could serve as a climax, it plays out exactly like a movie with one goal and little development. If that's up your alley or if you like mechs, space, or high technology then you'll likely find the show extremely compelling. Mobile Suit Gundam Unicorn is compelling, it just needed a little more to spur it ahead of its glaring character flaws.
Thank you for reading, now it's time for me to...hoof... it.
Reviewer’s Rating: 8
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Oct 25, 2012
There are few shows that make you truly put yourself in the shoes of the protagonist as School Days. That being said, be prepared for one of the most complex and lovable main characters in anime if you intend to watch this show. Yet, despite all the empathy, feel-good moments, and moral lessons present, the show itself isn't the most recommendable thing.
School Days is the story about a boy named Makoto struggling with his undying love and affection in a cruel world trying to take advantage of him. With a cast of predominantly crude females trying to erode his incredible spirit, you'll smile every time
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he manages to come out on top; I won't spoil it here, but the understanding and sheer consideration the main character possesses in the face of adversity is inspiring to say the least.
Of course, that's where the show's story shines, but it also has some less sightly aspects. For instance, this is a drama, which means it moves slow, and if you couldn't tell by the title, it takes place in a "School" during "Days," which is as exciting as it sounds at times. It's easy to be bored, at least before getting to know the illustrious depths of our male hero's goals, but once invested, you may weep with passion.
It doesn't help that the art is rather dull, being barely passable as something to look at. Some characters look nearly identical and that's rather misleading. They seem cute and bubbly, which may be artistic subversion, as it's quite a dark world our innocent Makoto inhabits.
Sound isn't much to write home about, but what you can write is one of Makoto's amazing, heart-felt speeches to his adversaries. It wouldn't surprise me if the script for this show was written by a politician; this character knows how to move a crowd.
Overall, if you want to experience an enlightening, warm character come...out on top of it all with a will to triumph against all odds, you must watch this show, even though it's mostly slow and uninteresting.
Reviewer’s Rating: 6
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Jul 14, 2012
There's something dignified and respectable about a show like Last Exile that tells a great, unique story and quietly leaves you to praise it. Its sequel, Last Exile: Fam, the Silver Wing, destroys every bit of that uniqueness and dignity. It's content to merely hover where its predecessor soared, and feels like a desperate, cheap cash-in rather than any sort of real sequel. This review wouldn't be necessary if people judged it merely on the rating, but with so many unwarranted 8's and higher misleading people (including myself), fans of the first Last Exile need a better frame of reference.
The story is where this
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show immediately falls apart. Without giving too much away (there isn't much to give away), A big, nasty empire comes and destroys a smaller nation, and of course, it's up to a small resistance to stand against them and find out what they're really up to. Our protagonists are a couple of young, girl sky pirates who commandeer enemy ships for the resistance and a princess of the small nation. Gone is the first episode with a full-on sky battle between two puppet nations, with rows of musketeers firing from the decks. Gone are the two interesting protagonists, who may or may not have a relationship, scraping by with just their fathers' van-ship and caught up unwillingly into something big, something they were destined for. Gone is the mysterious "Guild" from the first show, too. It's all gone!
The story's only merit being that it's entirely standard, we must continue on the story's flaws: it's filled with childish and completely unbelievable scenarios. Last Exile had some of this, but it never strayed away from showing the horrors of the politics and war. In this sequel, it isn't uncommon for a tiny ship to fly through a fleet unscathed simply because protagonists are on it. Actually, it happens in nearly every episode. Twelve episodes in, you will only know the three things you knew in episode two: empire bad, little girls are good, and moons are magic space-ships. It does nothing new, and it does everything old extremely poorly. Storytellers should understand the basics of nature, the human condition, and warfare before writing about it. This show throws a big empire at you, makes them do bad things, and they're just automatically the villain. Past 12 episodes this may change, but after that duration most stories have fully developed political backgrounds. Last Exile had reasons for why the nations were at war, and made it clear resources were scare. This sequel, like it's cast, is childishly written.
On to the aforementioned cast. Characters in Last Exile: Fam, The Silver Wing, are among the most forgettable, uninteresting, motive-less husks of human beings and not-human beings ever put into an animated production. They even insult past beloved, central characters of the first series by shoving them into side roles where they barely appear in favor of these far less interesting newcomers. This is particularly infuriating, as Dio, Tatiana, or Vincent would have all made incredible main characters while Fam is your typical happy-go-lucky, fearless-by-stupidity, loli protagonist who just likes capturing ships, it seems. She's committing theft, why should I be rooting for her? Is smiling and doing random reckless acts identifiable to anyone? Her navigator is Giselle, a much better character who is at least smart, but spends most of her time, like Fam, just being cute for the camera. Neither of them show empathy, struggle, or reveal anything other than vague cuteness and plot-defiant heroism. These characters never make an attempt to rationalize the war, which is understandable, considering that there really isn't anything to understand. How many children do you know that would just casually accept being involved in a war with a huge empire, still smiling at every instant?
Are ships characters? Because in the original Last Exile they were! The Silvana was one of the coolest ships ever, with a bad-to-the-core, funny, and enigmatic crew. This show's substitute, the Silvius, is a perfect reflection of the show: it pales by comparison in every way. It's boring, with a largely nameless, skinny, short-haired male archetype crew. Why do they blindly follow this princess (who is no longer a princess, of course) to re-build her nation? It is never explained why, it's just accepted. Where is this show's Alex Row, the tortured captain with secret ties to his crew? Where is this show's battleship-with-chainsaws moment? Most of all, where is the personal, human element? The entire atmosphere of Last Exile came from it being a colonial, steampunk adventure, but there's no musketeers or soldiers, just little girls who can do anything.
The artwork is still admirable for the most part, comparable to the first series, but with a markedly lazier and less creative design for the mechanical side of things. It still has that special aesthetic that demands merit, though. The colors in some scenes are beautiful, the architecture of cities is breathtaking. Costumes and character designs are also easy to admire, if only they had as much care put into their insides. The art can't be faulted, its integration of CG modeling is even more seamless and enjoyable than before.
Sound, like the art, is good, using a lot of the same sounds of the first Last Exile. It's nostalgic, almost like it's trying very hard to say "This IS a sequel, remember, see?" The intro is artistically valuable, too, though cant compare to Last Exile's Cloud Age Symphony. Gun-battles between metal sky-behemoths sound chaotic, you know, like battles, and that's all one can really ask for. The voice cast does it's job, nothing spectacular, as there really wasn't one emotional scene in 12 episodes. There was nothing for the actors to do.
Overall, Last Exile: Fam, The Silver Wing, is a cash-in of the worst kind, capturing none of the essence of the first show by slapping a boring, over-used plot on an original series. It then proceeds to tease old fans with returning characters, shadows of their former selves, to play background while lolis giggle in the forefront. As a fan of the original, and as a fan of many of Gonzo's works when many are not, this is a highly disappointing venture on their part. A little wisdom and care would have gone a long way. The awareness that someone will say "you only watched barely over half the series, how dare you criticize it" haunts me, so let me rebut: a good show is good throughout its majority, a good sequel is comparable to the quality of the former in all respects. Last exile was, indeed, called LAST Exile for a reason.
Reviewer’s Rating: 4
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Jun 7, 2012
An overhyped, overrated, inflated-by-details anime of Mary-Sue dialogues and bland battles. When somebody says "the show doesn't get good until 20+ episodes in," you know there's something wrong. As you can already tell, nothing good can come from me writing this review, because Legend of The Galactic Heroes is beloved on this site. A great deal of people call it a classic, and here I am writing about it being only "average." I have not finished the series; I can't, and this review is intended to tell you why I can't, but also why others like me, who bought into the hype, shouldn't waste their
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time.
The story of Legend of the Galactic Heroes follow the protracted war between the The Galactic Empire and Free Planets Alliance with a stunning degree of depth. You will know why the war started, who started it, why they started it, and why it mattered. What you might wonder is: why does it matter to you? This is where the main problem with LoGH arises, and the first problem with the story. This is a series of details, not entertainment, not development, not provoking ideas, but details. This is where LoGH gets its staggering 110 non-filler episodes. It is a slow-crawling assault of information, completely useless to the viewer. If you enjoy fictional history, this will not be a problem for you. You'll even be treated to several episodes of literal fake history lessons, in a documentary-style format, with interviews from fake historians and everything. Having fun, yet?
The second problem is actually with its characters. They fall into only two categories: Mary Sues and trying too hard. The main characters, Yang Wenli and Reinhard Lohengramm, can twist probability and reason in such ways that would make the characters in Gurren Lagann blush; they can do no wrong. Yang Wenli is outgunned to some astronomical degree like 1 to 100 most of the time and he wins because of "superior strategy" or "morale" which is never actually depicted, but more on that later. Julian, Yang's boy servant, can also do no wrong. He'll commandeer warships with little or no effort, and the writers never try to disguise this; when a character dies in LoGH, it isn't because their personality or choices brought them to error, but because Reinhard and Yang want them to die, or it's allegorical enough.
This is where trying too hard comes into play. Look no further than the character Poplan, where you'll notice it first. He's horny, and he will appear in no scene without reminding you he likes women. That's his only trait. Oberstein will go through every scene looking suspicious only to have absolutely no payoff through the entire series. An even greater insult to this cast, though, is Fredrica Greenhill. She blatantly admits she's useless aside from making sandwiches and tea. We get it, these are one-note characters. Besides the Mary Sues, you cannot care about the cast, making over half the characters uninteresting; most of them just serve as vehicles for the three main characters to spout more of their ideals, anyway.
Besides, how does "morale" make a difference to Yang? Does morale make lasers stronger or weaker? These are space ships; morale has no bearing on the functioning of mechanical things. Morale barely has an effect on weapons in our time, much less in the future. Yes, everything you heard about the tactics in LoGH is a joke. They use simplistic, planetary ideas like "circle around behind them" or "don't tell them about our main fleet," and apparently, that's very impressive to a lot of people. You won't need to worry about this, though, because action is sparse in LoGH. Yes, our Mary Sues prefer to drink, eat, stare out windows, and philosophize for most of their screen time away. You ever wondered how Yang feels about democracy? You're gonna know. You're gonna know over and over again.
The third issue with the story is that it's entirely implausible. There's only two ways for the enemies to cross into each other's territories, and they never really explain why other than "we'll die." Wars are lost and the remnant survivors are still seemingly able to combat the enemy for the sake of plot. Also, in the future, wars are waged with axes and armor, lasers are less lethal than bullets, and everybody lives like it's the 1900's. LoGH exists in some strange mindset of the future where we got into space (somehow), developed some very limited mass-communication, and all personal military technology stayed in the Middle Ages. The show Star Trek did it better in the 1960s, and even changed the world we live in with its ideas (like the wireless communicator AKA cell-phone). What is LoGH's excuse? It doesn't have one, it's just not creative enough. One would think, given the absurd amount of historical and political babble, that this show would've given equal care to imagine life in outer space, but it doesn't.
While the creativity and story of LoGH is sickeningly weak, the art doesn't fair much better. Classic and orchestral music scores carry the scenes well, but can't save them from looking bland. The characters are barely animated, even compared to other anime of this era. True, there's some shocking scenes of gore randomly spread about, but the action mostly come down to short bursts of lasers, explosions, and blood effects. It lumbers monotonously, but it does it to a classy sound-track.
So, apparently, the only attraction of this show is the dialogues between the Mary Sues. Indeed, they touch on a lot of philosophical and political subjects that are more relevant now than they were when the show was made, but this raises the question: why aren't you just reading about politics? The ridiculous scenario of this story's conflict, and the sheer "eminence" of its main characters makes it impossible to take seriously, yet it commands you to, and that's its ultimate downfall; all of LoGH's flaws could work if the show took itself less seriously, but it's direly serious, and so are its flaws.
Let's sum up. The main attraction for Legend of The Galactic Heroes is the ability for one to say "I watched something from the 1980's that nobody's heard about or cares about." Then, one can say "It was mature and intelligent, despite the fact I learned nothing." This show is a waste of time as entertainment, an example of what not to do with a show about the future, space, philosophy, politics, and the human condition. It lacks feasibility, it lacks imagination, and it lacks catharsis. There's a reason only MAL and hipsters care about LoGH, and everyone else knows Star Trek and Star Wars. Those had vision and creativity that inspired scientists and the generations to come. LoGH has 110 episodes nobody watched, flat characters nobody would recognize or identify with, and a literal universe of wasted potential.
Reviewer’s Rating: 6
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