I started rewatching Gun X Sword just after beginning to play Super Robot Wars T and was seriously wondering after two episodes if it was actually as good as I remembered. I would fully understand someone, after two episodes of the series, being just about done with it because the opening absolutely does not touch the show’s real strengths. You have two episodes of character humour that might be grating without the opportunity to get to know the characters, and of incidental combat against largely irritating villains. There are flashes of interest, for sure – the moments where the mask of slacker comedy breaks and Van shows his crazed side suggest there is something more going on here, made all the clearer by the fact the setting is called The Endless Illusion. But ultimately it is a kind of badness driven by simply being ordinary when you have probably, if you have been convinced to watch Gun X Sword, entered expecting something extraordinary.
There are quite a few comedy fantasy anime in the vein of The Slayers and, unfortunately, most of them are varying degrees of quite sexist. Even The Slayers has some episodes that really don’t hold up as very good, although it also has some extremely funny episodes and some action scenes that work quite well. There are certain tropes that come through in a number of the series in this vein that, depending on execution, feel a little awkward; lots of cross-dressing, lots of jokes where the punchline is pretty much “man tries to spy on woman and gets punched” and so on. The execution varies for better or worse, but nevertheless it seems this sort of adolescent humour is a recurring theme and it’s wholly understandable that that might not appeal to people so much. Konosuba goes perhaps even further by having a masochist-fetish defender and various other more direct sex jokes.
Kamen Rider Gaim is a very different beast to the previous series in the franchise I had watched and enjoyed; perhaps the closest comparison is 2018’s Kamen Rider Build in terms of tone, storyline and general feel, with heroes on all factions trying to get ahead of each other and eventually realising this is playing into a greater threat’s hands. But even so it is quite different, and the purpose of this review is not really to compare the series directly but to talk about what makes Gaim so compelling to watch.
It is fair to say I am watching Dororo (2019) with absolutely no knowledge of the original 1969 TV anime or 1967 Osamu Tezuka manga. As a result I cannot comment on how good an adaptation it is, in any useful sense; my understanding from secondary reading is it is making some plot changes, but beyond that I do not know anything. So, that reservation in mind, would I recommend Dororo (2019)? Yes. It’s a series which has in its first three episodes generally presented a praiseworthy attention to detail, some good action and a straightforward plot which hits some generally tough moral beats with the uncompromising didacticism that I grew to like about series like Harlock SSX.
Note: This article discusses the plot details of episodes 1-3 of Dororo (2019) including the way it handles the narrative depiction of suicide in episode 3.
It has been a long time since I watched any Captain Harlock media, but the recent announcement of Super Robot Wars T, featuring Harlock SSX: My Youth in Arcadia, drove me to give the series another go. I love its aesthetic, and it is iconic enough to be notably parodied in various things (perhaps most broadly by the latter half of Goldran featuring Walter disguised as a bad parody of Harlock piloting a giant robot shark), but I did not recall particularly gelling with the original series, dated as it is, when I first watched it.
Kamen Rider W is very good; it has a solid cast of characters and offers a strong mystery. The villain plots work well, and it is endearingly socially conscious in a way that is unsubtle without being patronising. At the end of the day, behind much of the superhero bombast, it is an action series about cool, all-action detectives trying to stop an organised crime gang selling drugs on the streets. Except the drugs are magic USB sticks that give you the power to become a supervillain, and the heroes have a cool bike, transforming armour and a dubious CGI go-kart full of gadgets.
For the moment, SSSS Gridman is coasting high on raw adrenaline and exhilaration; it offers, every week, exciting and good-looking giant monster fights with a scope for destruction and spectacle its roots in live-action superhero shows cannot match. Freed from constraints of what can be done with modelwork, stunts and costuming on a TV budget, there is a full-on sense of scale. In episode 3, the characters comment that twice now the city has been destroyed and twice it has been rebuilt overnight. This is plot-relevant, but it is also a nudge at the transiency of collateral damage in disaster-focused action series that I quite appreciate.
There is very little to say about the gameplay of Valkyria Chronicles 4; it is a refinement of the popular first game’s systems to possibly their most polished form in the series, with balance tweaks, a small number of interesting new mechanics and the excision of many of the additional features in the second and third games. It is a system that works well, doubly so for anyone familiar with the wargame Infinity, and any marked departure from that formula would lose some of what makes the series so appealing. As a result, any review of the game needs to really focus on the plot, and the interplay of those very polished mechanics with the storytelling for better or worse.
As this article will focus primarily on the storyline and endgame of Valkyria Chronicles 4, it would be best read after completing the game.
Horus Prince of the Sun (or The Little Norse Prince) is something of an event film in anime history, a spectacular looking production that features a veritable plethora of famous names turning up in its credits. For a film from 1968 it looks incredible, with fluid animation and virtuoso scenes such as the final battle – with a chase on animals of cloud, a troll fighting a giant ice mammoth and an army of Norsemen on boats. For anyone interested in animation history, or indeed the heights the medium has reached in its past, it cannot be recommended enough.
A lot of what I like about Ultraman is its weirdness, the way it depicts Earth as sitting in the middle of a vast, uncaring and strange universe under the protection of interstellar demigods who come down from the heavens, take human form and generally try to preserve order. And then there is Ultraman RB, which takes all of that and replaces it with a zaniness that escalates within eight episodes into the realisation that by the time you become powerful enough to become Ultraman, a lot of things can seem like a game.