Category Archives: Drama

The focus is on emotional conflict.

Toward the Terra – Anime Review

Japanese Title: Terra e… (TV)

 

Related: Terra e… (Movie – old version)

Similar: RahXephon

Gundam SEED

No. 6

Xam’d Lost Memories

 

Watched in: Japanese

Genre: Action Drama Science Fiction

Length: 24 episodes

 

Positives:

  • Grand scope with proper closure.
  • Intriguing open.
  • The sci-fi elements make for an engaging story.

Negatives:

  • Needs stronger key villains.

(Request an anime for review here.)

In another anime with the premise of a protagonist realising his world is a lie, we have Toward the Terra. Where No. 6 setup an ordinary world for the protagonist to exit from, Terra echoes events closer to the likes of The Island or Logan’s Run with a dash of RahXephon and Battlestar Galactica.

In Jomy’s world, talented people join the elites of humanity on the day they reach adulthood. This is an exciting occasion. Who wouldn’t want their child to lead humanity to greatness? This is also a lie. The test of adulthood is actually to identify any potential “Mu” among the populace. They are an evolved race of humans possessing psychic abilities that strike fear in the government. All Mu are executed.

Jomy’s birthday takes a turn for the weird when a mouse starts talking to him telepathically at an amusement park. It’s not long before he’s on the run as one of the Mu and the lie that is his world tears at the seams. Not only is there a race of psychics that live on a ship among the clouds, their leader Soldier Blue has fallen into a coma and wants Jomy to inherit his power and the burden of leading the Mu to a brighter future.

Toward the Terra immediately differentiates itself from the pack of like-minded stories by going off in a wild direction. This story spans years and ventures to places I didn’t predict. One could watch the first episode of Terra followed by the final episode and have no idea how it got from A to Z. No character is the same by the end of this series.

The first act sets up so many questions about this world and its characters. Where did the Mu come from? How blind is the average human to reality? Did Jomy’s human parents really love him? Is it possible for Jomy to undo the brainwashing on society? Who is leading the humans? Why are they so insistent on killing the Mu that aren’t a part of their society? Unlike No. 6, which setup many question but either forgot to answer them or gave meaningless payoffs, Terra delivers some great arcs and story conclusions.

This is my kind of sci-fi anime.

That said, it doesn’t reach greatness when looked at as a whole. There are moments of greatness – the setup episodes and other key events I won’t give away – but the problems are intrusive. The one that has stuck with me since having finished Terra months ago is the switch from Jomy’s perspective to one of the human elites in training.

We follow Keith, a Spock-like character except boring and with no personality. Furthermore, we have no clear idea why the focus is on him for so many episodes (turns out, he’s a major villain – no spoiler, they should have alluded as much from the start). Even furthermore, we don’t see Jomy during this section. It all makes sense in the end, of course, yet the structure of this early second act feels so disconnected from the plot that instead of enjoying the story, I’m asking, “Why does any of this matter?” for too long. It needed a back and forth of perspectives.

Oh yes, almost forgot – Keith’s main rival at the academy is a smiley evil guy. A laughable character. No one would just stand there and take his sneering for more than a day before removing all his teeth. When at this stage of the story, I thought all the good the premise had setup was going down a black hole. Thankfully, it picks up again once Jomy re-enters the scene and Keith’s role matters – he even becomes interesting after the academy years are over. The villains in general are on the weaker side.

Several other moments also standout as blots in the story. I can’t go into detail without revealing too much (as I said, this story goes in such unexpected directions), but they are in the vein of characters doing stupid things for the sake of forced conflict.

There is also a minor annoyance where each episode starts with several minutes from the previous episode. This isn’t a “last time on Terra…” bit, but a straight repeat of scenes. Could do without it, though not a deal breaker.

In all, the good outweigh the bad with the premise being a story type I love accompanied by strong sci-fi elements. I enjoyed Toward the Terra and may even rewatch it in future.

Art – Medium

The technical quality is average, but the creativity of the sci-fi world is good old retro-futurism. Beautiful skies. There is this one character, an alien scientist with the dumbest and most out of place design, like a stick figure in a scene of elfin people. I laughed every time she came on.

Sound – Medium

Solid acting and the soundtrack is suitable to the anime, though you won’t remember the details.

Story – Medium

On the cusp of adulthood, a boy learns he is an alien linked to the first of his race, which makes him an enemy of society and all humanity. This grand space voyage has a lot in it that works for the most part.

Overall Quality – Medium

Recommendation: For sci-fi fans. Toward the Terra’s sci-fi elements will make it a pleasure to fans of the genre, but those same elements will alienate others. And the characters aren’t strong enough to carry interest if sci-fi the premise doesn’t hook you.

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Awards: (hover over each award to see descriptions; click award for more recipients)

Positive: None

Negative: None

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Glass Mask – Anime Review

Japanese Title: Glass no Kamen

 

Similar: Skip Beat!

Kaleido Star

Searching for the Full Moon

Hikaru no Go

 

Watched in: Japanese

Genre: Drama

Length: 51 episodes

 

Positives:

  • Faithful recreation of Yokohama.

Negatives:

  • Teaches bad acting practices.
  • Insufferable protagonist.
  • Lead actress isn’t good enough to play a chameleon character.
  • Every role is Oscar bait.

(Request an anime for review here.)

How is it that one can make an anime about acting only to end up with a Mary Sue that can’t act?

Glass Mask is a frustrating anime. It’s something different and about acting, an art form I love, so I wanted it to succeed in the same way that Nodame Cantabile did with music. I kept giving it chances to improve, but it did nothing other than disappoint me further at each stage.

We follow Maya Kitajima, a 13-year old girl with big dreams of stardom on stage and screen as she toils away as a ramen delivery worker. She loves to perform for anyone that will watch. While playing with kids in the park, a crone-like lady comes up and proclaims that Maya is the star she’s been looking for all these years! Maya rightfully screams and runs.

This is the first red flag. Never believe anyone who tells you, “I knew it from the first that they would be the best.” When a teacher finds a future star, they don’t see the greatest to have ever existed. They don’t witness perfect pitch or hear the perfect note on the piano – many can do that in a vacuum. They see something more, a quality that could take them further, whether it is determination, focus, a different take on the art, or unexpected creativity. (And remember, more stars fail than succeed.) In Glass Mask, Tsukikage instantly sees the greatest actress that will live in a 13-year-old girl with no training and no experience. Sigh…

We can forgive that as the typical exaggeration of anime. It’s common for the protagonist to have some amazing quality right away, so it’s not a death sentence.

Acting is an obsession to Maya. While out on deliveries, she often finds herself distracted by the local theatre or cinema with the latest dramas from her favourite stars. We see an early example of how far her obsession goes when she makes a bet with the bratty daughter of the ramen shop. If Maya can complete all deliveries on New Year’s Eve, the busiest night of the year, on time and by herself, the other girl will give her tickets to the latest hit play starring her favourite actress.

This takes place in Yokohama (well recreated here, by the way, with the warehouses by the wharf, the downtown amusement park, and beautiful skyline). The restaurant is in the city’s Chinatown and I recognise several of her delivery destinations. I have toured Yokohama (love it!) and let me assure you that no one would be able to cover the ground she does in so little time, even if they had bike. Oh yeah, did I mention she does this on foot? In the middle of a winter night? While carrying two cabinets with several of ramen? Which, as a minor aside, means she has to return to the restaurant after every few customers. Did I forget to mention that? Before one would even consider the feasibility of her task, there is no way the owner would hinge her restaurant’s reputation on a child’s bet.

Of course, she succeeds.

Okay, perhaps we can forgive this as well. It’s the equivalent to the shounen protagonist beating the “unbeatable” trial set by a teacher to prove that they are worthy of becoming a pupil. What follows, however, is unforgivable.

Through a series of events too long to detail without being here all night, Maya becomes apprentice to the crazy crone from earlier, who turns out to be former diva and legendary actress Chigusa Tsukikage. A director wants to remake her greatest film (imagine Casablanca) with the current popular actress (Maya’s favourite). Tsukikage doesn’t believe she can live up to the role and decrees that there won’t be a remake until she trains Maya. This performance is Glass Mask’s end goal.

So, Maya moves into Tsukikage’s mansion with several other girls to practice acting day and night. And it just gets stupid from here.

First, Maya has the ability to memorise an entire play – everyone’s lines – in a single viewing and recreate it without practice. She also instantly knows how to convey any act on her first try. Glass Mask demonstrates this in one of the most laughably bad scenes in anime.

On their first night at the mansion, they have to mime eating their favourite dish after Tsukikage tricks them. Everyone is blown away – tornado picking up Dorothy’s house levels of blown away – at her imitation of slurping ramen. The way everyone reacts to everything she does is so over the top that it’s pathetic. This is a shounen for girls and her superpower is acting.

Another moronic scene has students pretending to get a bird down from atop a cupboard and back into its cage. Everyone does this normally, but for Maya that isn’t good enough. She acts as though she’s too short to reach the cupboard and this blows everyone’s minds! “Oh my god, we are so stupid! How did we not realise that a cupboard top is high up? Never mind that the exercise was about handling the bird – we should kill ourselves with shame!” They don’t actually say that, but their reactions do.

See, Maya’s defining personality trait is her need to be different, to be special from everyone else. One of her early gigs is the village idiot in a theatre comedy. Her role is comedic relief with the explicit purpose of making the audience laugh. That’s what they pay her for. The ignorant director, in his decades of experience, forgot that comedy is beneath the great Maya. She changes the script mid-act and takes over the play to give her character a tragic backstory, turning the play into a drama. Of course, the audience is in tears as they give a standing ovation.

You know what would happen to her in reality? Fired on the spot and no one wants to work with her again. Only the most gullible and acting ignorant person would fall for Glass Mask’s version of the art.

The stupid doesn’t stop there. Wait until she starts the method acting. Every one of her roles once her career kicks off is Oscar bait.

Her main rival is Ayumi, daughter of the current popular actress mentioned earlier. They compete for a variety of roles of equal pretension. One audition is to play a young Helen Keller, a woman famous for learning to read and speak despite being blind and deaf. Two of the audition judges are Ayumi’s mother and her mother’s manager. No bias, they swear.

After winning each role, Glass Mask takes a few episodes for Maya to go method while implying that if you don’t go method, you are a bad actor. In one role, she plays a bedridden girl; so of course, she goes out in the rain to get sick for the performance. Has Maya ever considered, you know, acting? Your Lie in April is far superior at dramatising the struggle to become a better artist.

In a move of divine irony, none of Maya’s performances – and her voice actress’s by extension – are any good. Not one performance manages to convince me that I am seeing a different character on screen. It’s always the narcissistic Maya. The funniest role has to be that of Wolf Girl, where she has to become a girl raised by wolves. Embarrassing.

I get the impression that the author of Glass Mask knows nothing about acting. Does the writer not know that acting is a collaborative art, where reacting to others in the scene is just as important as acting by yourself? Yet, this show acts as though the job of a performer is to slay your scene partner with sick line reads. This ain’t a rap battle. (Yes, they do have “act offs”. I am not kidding.)

Furthermore, all adults around Maya that have been in the business for years act like amateurs just to make her look better. “What is this…‘a-ku-ting’ you want me to do?” they say, drool slipping from the corner of the mouth.

Above all this, what I hate most about Maya is her false modesty. She wins an Oscar-like award as a teenager, receives a standing ovation after every performance and praise from all, but at the end, she says she isn’t that good. (I mean yes, her voice actress isn’t good, but that’s not what she meant.) What an insufferable character.

The ideas, if you list them out – girl obsessed with acting to the point of insanity, has-been starlet driven to train a protégé, showing the girl has natural skills at an impromptu audition, dedicating one’s life to the art – are all fine on paper. With the over the top execution of Glass Mask though, it takes them beyond the point of believability into laughable territory.

Art – Low

The art is more realistic (ish) than the norm for a shoujo anime. Animations need fluidity.

Sound – Low

Most performances are fine. However, having an actress with no range play a girl said to have the superhuman ability to become any character is a massive failure. The music is dull – OP, ED, BGM – all of it.

Story – Very Low

A young girl with a chameleon acting talent goes under the wing of a once great actress obsessed with raising a successor. On paper, everything sounds great. In execution, the journey is painful to endure alongside an insufferable protagonist and lessons that no actor should follow.

Overall Quality – Very Low

Recommendation: Avoid it. I don’t want people to watch Glass Mask, especially kids, and to think this is a representation of great acting. I almost gave this a Low rating, but I truly hate the lead and everything she represents.

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Awards: (hover over each award to see descriptions; click award for more recipients)

Positive: None

Negative:

Induces StupidityMary SueRubbish Major Characters

No. 6 – Anime Review

Japanese Title: No. 6

 

Similar: Ergo Proxy

Psycho-Pass

Towards the Terra

Banana Fish

 

Watched in: Japanese

Genre: Action Drama Mystery Science Fiction

Length: 11 episodes

 

Positives:

  • Quality art and animation.
  • Good start.

Negatives:

  • Wheel spinning second act.
  • Protagonists lack involvement.
  • Mismatched music.

(Request an anime for review here.)

In an odd coincidence, I have completed three anime that open with a similar premise – Toward the Terra, Xam’d: Lost Memories, and No.6. They are each about a late teen living a good life, free of worries, when an outsider tells him it’s all a lie and his life turns upside down.

In No.6, Shion lives in the sixth of humanity’s utopian cities. Everything is perfect – no poverty, no crime, no conflict. He was one of the city’s elite residents with every luxury paid for in exchange for contributing to society in an area of expertise – ecology, in Shion’s case. He lost all such privileges at 12 years old when he helped one of society’s rejects take shelter. Years later, he now oversee No.6’s trash bots.

When a disease hits the city that causes rapid aging, the authorities arrest Shion. Of course, he’s as clueless as the rest, but he dared question The Man and for that, he must die. However, the same boy from all those years back who goes by the name Nezumi, meaning “rat”, scurries to the rescue and breaks him free of society’s shackles. The adventure begins.

I love this type of opening that upends the protagonist’s world. It raises so many questions at once, generating immense conflict for the protagonist torn between the world they once knew and the new reality, and I can’t want to see it all unravel. How did society erect the façade in the first place? How does it control the populace? Why? What’s the protagonist’s involvement in its history (there is always something)? How have the Outsiders survived all this time?

I’m sure you can see where this is going.

No.6 doesn’t make an effort in any of these questions.

Damn. What a shame.

Once out of the city, marking the end of act 1, the plot just stalls like a novice driver confusing the clutch and accelerator pedals. Each episode of act 2 goes as follows: Nezumi saying he hates the city, Shion asking why, Nezumi saying he’ll tell him later, and repeat. Characters don’t take action. There are minor moments – just not enough to drive the plot forward.

The next real event is at the end of act 2, leading into act 3. It’s as though the writer set in stone that “When the characters meet this guy over here, act 3 starts.” She refused to bring this event forward and come up with something else to start act 3 when act 2 had nothing going on (or write new events to lift the drought). I see this occur a lot in Korean dramas. The studio mandates a certain number of episodes to fill the TV schedule – usually 16 1-hour episodes, yet their romantic comedies are rarely complex enough to fill 16 hours. Acts 1 and 3 have stricter lengths in a story than 2 does. A slow first act turns the audience off and they won’t return. A slow third act leaves a bad aftertaste. Therefore, the filler slumps into the second act (“will they, won’t they,” and “problem of the episode” scenarios).

Unlike those drawn out K-dramas, a fictional world with a grand conflict like No. 6 has plenty of material to tap into. Why didn’t we explore more of the city and its utopian society? The idea of each citizen focused on one specialty with everything paid for isn’t relevant after the opening. This world has but a fraction of Psycho-Pass’s depth.

Act 2 instead focuses on the main couple, which doesn’t work either. There is too much focus on Shion and Nezumi’s relationship, yet not enough because it doesn’t move anywhere during this middle section. Again, I suspect the writer refused to allow their development to progress, “Keeping the good bits for the end.” The one positive I can say about their relationship is that it isn’t a shounen ai tease. It commits.

Even when the plot does get off the recliner, our protagonists aren’t driving agents to lead the story. Their allies do more work than they do in resolving the grand conflict. It feels as if the writer had an idea for a couple but no story to accompany them, and an idea of a story but no characters to lead it. Since they were lacking each other in the technical sense, she brought them together like the final two pieces of a puzzle. She didn’t realise they weren’t meant for the same puzzle. At least not without further work.

None of the backstory mysteries involving Shion’s mother, the city’s origin, and the rebels amount to anything meaningful. The writer knew mysteries should be there to entice the audience, but didn’t go back to flesh them out and tie them to the plot in a meaningful way.

You can look to several other anime for this idea executed expertly. Start with Psycho-Pass. No. 6 isn’t a terrible anime. Though when others have already shown you how to do it right, it’s difficult not see all the problems despite any positives.

Art – High

No. 6’s strongest quality is the art, particularly the animation. Episode 9 has a Ghibli quality scene. I also like the visual contrast between the clean city and dirty slums.

Sound – Medium

The acting is good and most music works well. The OP and ED songs have no life in them and sound so weird. I’m unsure of what they are trying to convey in relation to the narrative.

Story – Low

A boy has his utopian life upended when he helps an outsider, who later helps him escape the authorities in return. A good start isn’t enough to keep one going to through a stalled second act and poorly fleshed out finale.

Overall Quality – Low

Recommendation: Skip it. With the likes of Psycho-Pass, RahXephon, and Towards the Terra, to name a few, using the same setup to greater results, there is little reason to knock at No. 6.

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Awards: (hover over each award to see descriptions; click award for more recipients)

Positive: None

Negative: None

Banana Fish – Anime Review

Japanese Title: BANANA FISH

 

Similar: Rainbow

Black Lagoon

91 Days

No. 6

 

Watched in: Japanese

Genre: Action Adventure Drama

Length: 24 episodes

 

Positives:

  • Strong protagonist.
  • Great visuals.
  • Doesn’t cringe from the subject matter.

Negatives:

  • Weak villains.
  • Humour doesn’t work.
  • Could use more brains.

(Request an anime for review here.)

Banana Fish is an adaptation of a manga by the same name that ended 24 years ago. Once a manga reaches a certain age, it’s often deemed outdated and financially unviable. Should one receive an anime adaptation, even then it could become “old news” and have no second season in favour of a gamble at the next big hit. So it’s a pleasant surprise to see something as old as Banana Fish on the slate. And when a studio does go out of its way for an old licence, they will put the full production effort behind it, as is the case here.

The story centres on young Ash Lynx, a handsome boy adopted by New York City Mafia Don Dino Golzine, who declares that Ash should inherit his empire. The boy is ruthless, resourceful, and charismatic – all the qualities he desires in an heir (and it helps that Ash is just his type). Unfortunately for the Don, the boy is also rebellious and despises him like the devil. Ash becomes hell-bent on destroying his father and abuser, especially once suspicion arises of his involvement in the death of Ash’s brother and a mind control drug called Banana Fish. This dangerous game becomes more personal when he meets Japanese photographer Eiji, with whom he makes fast friends. Eiji has just entered a world of abuse, drugs, and death.

Ash is an interesting character and the strongest element of the story. He is a mix of violence and pain as he hates just about everything in his life, yet has these moments of intense vulnerability like a lost child that has no idea of the world. As a child, people sexually abused him, particularly in the mafia including Dino, which taught him that his most valuable asset to these monsters is his body. He’s so damaged by this, one isn’t sure if he’s actually gay or if he’s willing to use his asset to gain the upper hand. It’s messed up, but it makes for an interesting protagonist.

Banana Fish opens on a song to hype you up for the action and ends on a ballad of sadness to remind you of Ash’s pain. That is the heart of Banana Fish.

Eiji is the opposite: sweet, innocent, doesn’t know how to handle gun, and hasn’t even kissed someone. He’s the only good in Ash’s life. Nothing was free in Ash’s world, until he made a friend.

The rest of the cast is a motley crew of gangsters, street urchins, and forgotten soldiers. They work fine in their roles. Where Banana Fish fails its characters is with the villains. Not one of them is interesting or has any depth. Dino is just a creep obsessed with getting Ash to come back as his heir. His plan to accomplish this? What plan? The Chinese guy with long hair, said to be a master manipulator, only succeeds through plot convenience and his ultimate desire for death is just nonsensical. He’s more whiny cartoon child than evil genius. The rest are run-of-the-mill thugs and henchmen, as normal.

The focus on action over character does lessen the impact of weak villains, since this isn’t a battle of ideologies or wits. However, the action-dominated story does dampen the initial setup with Ash’s background and his friendship with Eiji. It doesn’t stop long enough for us to absorb these characters.

To compound problems further (it’s chain of problems, at this point, one leading into the next), the action isn’t smart like Code Geass or stylised like John Wick or Mad Max: Fury Road, so I don’t feel the action alone can carry the series to greatness. People take life-threatening injuries only to stand up a minute later as if they won’t die of blood loss any moment now. Also, Ash is supposed to have an IQ of 180, yet his plans are far from genius. One hit on Dino involves standing atop a truck to take the shot while speeding past. Really, that’s your plan? Nothing in Banana Fish lends credence to his genius label. If they simply hadn’t mentioned it in that one episode, it would have been irrelevant. He’s of average intelligence with high charisma, which is perfectly fine.

My other problem with Ash is the overuse of certain tropes. For instance, I lost count the number of times he wiled his way out of captivity by seducing his captor/guard. It’s awfully convenient that every single one of them is gay and falls for the oldest trick in the book. It made sense the first time when his captor was a past abuser that still craved him. After that is pushing it. Even the humour, which is often jarringly out of place, uses this trope in a light-hearted manner.

Banana Fish has a much stronger first half than second. The first has all the tension, tough choices, harsh losses, and less to do with weak villains. It’s still a decent anime in the second half, though you have to love it for the action more than anything else. And if you make it to the end, the final scene is the best in the series.

Art – High

One of the better-looking series of the year, Banana Fish has a colourful style with plenty of detail, nice animation, and consistent quality. Distant characters lack detail though.

Sound – High

From OP to ED, main character to supporting, all the audio is great.

Story – Medium

An heir to a criminal empire rebels against the predator that raised him and finds friendship in an unexpected place. Banana Fish has a strong first half, fluctuates up and down for the rest of the way, but ends on a great moment.

Overall Quality – Medium

Recommendation: For action fans. Banana Fish looks great and has plenty of action to keep the crowd busy. Not for children.

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Awards: (hover over each award to see descriptions; click award for more recipients)

Positive: None

Negative: None

Mobile Suit Gundam 0080: War in the Pocket – Anime Review

Japanese Title: Kidou Senshi Gundam 0080: Pocket no Naka no Sensou

 

Related: Mobile Suit Gundam (prequel)

 

Watched in: Japanese & English

Genre: Mecha Science Fiction Drama

Length: 6 episodes

 

Positives:

  • Moral greyness.
  • Great self-contained story with a satisfying end.
  • Quality animation without sacrificing visual detail.

Negatives:

  • Doesn’t start strong.

(Request an anime for review here.)

If there are two things you can rely on with this franchise, it’s that a Gundam will be the centre of all attention and there will be an annoying kid. Mobile Suit Gundam 0080: War in the Pocket manages to defy expectations by omitting the latter.

10-year-old Alfred lives on a neutral colony in space, where little much happens with the war between the Earth Federation and the Principality of Zeon rampaging in distant locations. Nevertheless, Alfred has a keen interest in the war, particularly in relation to the mobile suits. Excitement strikes when a skirmish bursts into the colony and a Zaku mobile suit crash lands in the woods nearby. Alfred befriends the pilot Bernie. In exchange for learning all about the war and mobile suits, Alfred provides local knowledge of the land to locate a secret Gundam developed by the Federation in the colony. What starts as a naïve child looking for adventure, will soon turn dire when destruction of the entire colony isn’t beyond reason if it means stopping the Gundam.

The first episode does little to capture your attention. The peaceful start focused on Alfred’s mundane life arguing with friends at school about mobile suits and playing light gun games at home isn’t interesting. It makes you wonder what the aim of the story is. No good stuff mentioned above starts until the final scene of the episode. Setting the scene and ordinary life is worthwhile before upheaval, but it didn’t need to take so long. And it isn’t until episode 3 when we near the mid-point that matters kick into gear and the tension has weight.

Bernie is part of cell embedded in the colony disguised as service workers while they search for the Gundam. It’s interesting how one can’t quite decide on whether they are villains looking to attack the colony, made more difficult by the fact that the Gundam’s pilot is a friend of Alfred’s (unbeknownst to anyone), or heroes acting in preemptive self-defence. This moral greyness is a large contributor to War in the Pocket’s engagement.

Gundam stood out at the time as a shounen anime by, apart from putting effort in the functionality of its mechs, enforcing consequences on its characters. Shounen of the era rarely had death. Whether it was through a dragon ball wish or returning from the dead without explanation, people rarely died. It was too violent for children. Gundam, on the other hand, knew that war had casualties and that a bullet to the head meant death. This realistic approach is well present in War in the Pocket and makes it satisfying. The conflict is meaningful because the consequences matter.

My greatest disappointment with this short series is the lack of screen time for the woman next door, Christina. It’s evident that as the pilot of the Gundam Bernie and Alfred are searching for, she is to generate conflict for the two. A crush/friend is one of the enemy, which will give them pause once unveiled. Because she doesn’t have much screen time, we don’t feel this moment of revelation as strongly as the writer intends. That said, this thread isn’t core to the story, so it doesn’t collapse the house.

The core is Bernie and Alfred. Like the greyness of the infiltration cel, Bernie and Alfred’s friendship also has nuance to it. Is Bernie truly friends with Alfred or just taking advantage of some dumb kid? This thread plays out well.

To top it off, Alfred isn’t annoying like the usual Gundam brats. Yes, he does start annoying, particularly when interacting with some girl at school, but kids are like that. Be around kids for a few hours and they are bound to do something annoying – you know, kids being kids (I used to teach them). What makes Gundam kids so insufferable is that they are never not annoying while also contributing nothing to the story. Alfred becomes endearing over time and proves his purpose in the story. And for that, this anime receives my praise.

War in the Pocket is an unrelated side story of the original Mobile Suit Gundam. Apart from the general war from the original, nothing really carries over to here. This is a short story apart from the main conflict of the Gundam universe, which one can enjoy without prior knowledge of the franchise. As such, I would recommend this series to those who have an interest in Gundam yet feel daunted by its scale (for a modern recommendation with easy access, look to Mobile Suit Gundam: The Origin).

Art – High

War in the Pocket uses a more realistic art style to draw in an older audience. It succeeds in having quality animation throughout the series without sacrificing character and environmental detail.

Sound – Medium

The music is that classic old anime style. As for the acting, stick to the Japanese since the dub is so-so at best.

Story – High

A boy helps a mobile suit pilot uncover the secret of the Gundam project on his space colony. What starts as an unlikely pairing between a rather annoying mobile suit otaku and a pilot ends up as a satisfying Gundam short story.

Overall Quality – High

Recommendation: Try it. For Gundam fans, this is an easy recommendation. For non-Gundam fans, War in the Pocket is ideal if you are looking for a taste of the franchise, as it requires no prior knowledge.

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Awards: (hover over each award to see descriptions; click award for more recipients)

Positive: None

Negative: None