The ending of Atom: The Beginning is left so that further adaptation of its ongoing source material can be made; this is not the complete conclusion of the story, and knowing this context now rather sets my initial observations about the series in context (that it was taking a very laid-back and almost uninterested approach to its worldbuilding and the ethical questions raised). It is an adaptation of a small part of a longer, ongoing work. Of course it will not provide all the answers. Before moving into the meat of this consideration of the series, it is worth considering something else. I was initially perturbed, or at least surprised, to see that the series was raising and ignoring questions about machine sentience and robot ethics. It felt like a failure of science-fiction to studiously avoid taking a stand while raising allegorical and philosophical questions.
The second half of Garden of Eden is ostensibly about a race. It’s more about how just the right things at the right time can lead to new friendships and a new life.
There are no shortage of anime which put a mecha genre spin on the “modern-day character ends up in fantasy/alien world” (isekai) theme. From Aura Battler Dunbine through arguably series like Orguss into ones like Magic Knight Rayearth or The Visions of Escaflowne it has strong precedent, and it is a genre that brings a few additional interesting themes to the traditional science-fiction and fantasy ones. I am personally very interested in stories of culture shock, or outsiders to a society trying to fit in; it is for this reason I was quite disappointed in the TV adaptation of Crest of the Stars because it hinted at being a story of a human living as the ward of aliens and learning their culture, and then did not really deliver so much on that. One could almost consider, actually, a story like Crest of the Stars as the pure science-fiction equivalent to the isekai story – a human living among aliens.
This is where Garden of Eden steps up a gear. I wanted this to be a story about people learning to do something with their lives, getting that buzz of energy and enthusiasm I feel when I commit myself to a project. Having something to work towards.
From this point on, the characters have something to aim for.
This was an interesting battle for sure – a force of only eight models against a much larger one, led by a powerful Strider.
Unfortunately, many of the photographs I took did not come out.
It did not go particularly well for the North…
It takes around seven and a half minutes for there to be a proper conversation in episode 3 of Rurouni Kenshin: Tsuioku-Hen. That is not to say there is not dialogue, but there is very much not conversation. Instead, the characters talk past each other, make observations and shut down conversation with simple acceptance or disagreement. If Kenshin and Tomoe are supposed to be pretending to be in love, they are doing an unconvincing job. Something the OVA has done exceptionally well, particularly in the extended sequence of Kenshin and Tomoe’s flight from Kyoto and then throughout the episode, is use non-verbal cues and landscape montages to evoke a mood. It is an extremely understated and repressed anime about repressed and uncommunicative – and, it turns out – secretive characters.
A key part of the quality of Rurouni Kenshin: Tsuioku-Hen is its pacing and use of processions of dreamlike, almost wordless scenes; characters will move around and say little and yet the series uses visual and body language to make up for the lack of dialogue. It quite fits the characterisation that has been established in episode 1; Kenshin is willingly emotionless, childish in thought and deed, and Tomoe – the girl whose fiance he killed without knowing – is herself repressed and alone. I mentioned in my previous article on this OVA that it was rejecting, in a sense, all of the conventions of the typical assassin’s backstory; even now there is a humanising element (the thing that one would expect would lead to a sharp turn into mawkishness and saccharine cliché) it is in its own way different. It is two people both suffering unspoken emotional trauma (because the series has not even begun to address that Tomoe’s fiance is dead by Kenshin’s hand) talking at each other not about their problems.