Deca-Dence is an anime original series that hooks readers with an unusual, easy to grasp premise. The last of humanity lives on a mobile fortress called Deca-dence that roams the land in search of monsters to hunt, their blood a valuable resource. Warriors that fight these monsters are the Gears, most of them alien. Humans, for the large part, work as maintenance and hospitality crew referred to as Tankers. Tanker girl Natsume dreams of rising up to become a Gear, but the system seems stacked against her and denies her at every turn.
Little does she know that the system is in fact against her. Against all humans. Deca-dence and its adventures are actually a playground for cyborgs to fight monsters via humanoid avatars like some video game. The monster blood is worth points and extends cyborg life. High rankers receive handsome rewards. Furthermore, the whole “game” and every human within it belong to a giant corporation. This is Mortal Engines meets The Truman Show.
The reveal of the second reality with cyborgs is jarring if going in blind, as I did, for the visual styles of the two worlds are vastly different. The game world looks normal, albeit barren and grimy, whereas the cyborg world is out of a children’s morning cartoon. We don’t see the latter until episode two. I thought I had changed anime.
This is a good hook for the story and offers many questions that the audience wants answered. Who are these cyborgs? What do they really want? How did the world get this way? Is Deca-dence the only fortress? What’s with the mega corporation? Natsume is found to be a bug in the system, unaccounted for in the corporation records – but how? Will her exterminator friend delete this bug? And of course, we have the usual questions surrounding a dystopian world and its society. So many questions. So many possibilities.
It saddens me to report that the setup is the high point of the series and the story only declines in quality by the episode. The ending, most of all, is weak. For this sort of world, this sort of story with these themes you can’t settle on a utopian conclusion. Since I don’t want to spoil any more, I’ll use a parallel. This ending is like making a WW2 film, but once the Nazis are defeated, there is no other conflict to resolve or logistics to deal with (such as assisting all the homeless civilians). I’m not suggesting your story has to deal with them, yet you can’t pretend they don’t exist. Solving one problem doesn’t magically fix everything.
It’s more than that, however. The answers to those aforementioned questions – what questions they do answer – are frankly predictable and too normal. Deca-Dence is a slowly deflating balloon.
The characters are quite good, Natsume being a fun underdog easy to cheer for. Even so, the story doesn’t take them to interesting places as the themes dwindle to embers.
Deca-Dence never reaches a bad point. At no stage do I think, “This is so stupid.” It’s simply…mediocre.
Overall Quality – Medium
Recommendation: Try it, though I am hesitant to suggest even that since the start is the best part of Deca-Dence and doesn’t follow through.
Every great crime mystery has three components to success. The first is an interesting crime that generates plenty of questions and mystery. This doesn’t mean it has to be something crazy like a dead clown hanging from a chandelier with foam sword in one hand and nuclear detonator in the other. It can be something as simple as a shot to head during lunchtime, dead body in the apartment, yet the neighbours heard nothing. The second component is engaging characters, most notably for the detective protagonist and the main suspects. You want to look forward to these characters parrying words. And lastly, to engage the audience fully, the crime must be solvable before the big reveal. You don’t want to make it obvious – keep them guessing, unsure of their theories – but the pieces must be present.
In this third component, ID: Invaded fails.
ID: Invaded is about a detective agency that can investigate cases by diving into the unconscious minds of criminals by using a machine called Mizuhanome. Our main detective, Sakaido, is a murder himself after avenging the death of his family, for only a killer can safely enter into the mind of another killer. While he investigates on the mental plane, rookie detective Hondomachi hits the streets to interview witnesses and suspects.
The look of the virtual world in the target’s unconscious is cool. The opening scene has Sakaido in pieces with digital cube particles instead of blood. After he pulls himself together, he needs to reconstruct the scene physically from the fragmented reality that is the human mind. It recalls games like Ghost Trick and Remember Me. I love this representation. There is no denying the visual engagement. It’s weirdly awesome. However, this very concept is also ID: Invaded’s greatest flaw.
What Sakaido is looking at, these pieces to a murder mystery, are abstract. Even the faces on the people in the unconscious realm aren’t accurate. They are an amalgamation of faces remembered from one’s life, just as it is in your dreams. This means that the clues don’t mean much until we see the answers. It’s like solving a 1000-piece puzzle of pure white that doesn’t reveal the picture until all pieces are in place. The audience doesn’t have the opportunity to solve the case ahead of time – as you would in an Agatha Christie novel – without relying almost exclusively on guesswork, and in a crime story, this drops audience engagement to a level no author wants.
Now, the visuals do make up some of the loss, as mentioned earlier, as do the unusual characters on both the law enforcement and criminal sides. One of the criminals, called “The Perforator”, likes to drill holes in people’s skulls. Always delightful. Sakaido is also an interesting protagonist with his status as both criminal (still in jail) and detective. Sorry, “brilliant detective” as the mind detectives call themselves. Side note: it took me a while to realise that brilliant detective refers to their job title and not a token of praise. Poor choice of name.
I’m not sold on Hondomachi. She feels like a character design first (adult that looks like a teenager) and personality second, though her role in the story is interesting. The Inception-like system of her in the real world on the job while Sakaido is in the brain finding clues works well. It adds a nice dose of tension when everything is parallel in real time. Incorporating the Mizuhanome in the crimes itself is another good choice that heightens the stakes. It isn’t just a tool. One could almost call it evidence in the grander story, similar to the PreCrime unit in Minority Report or the Sibyl System in Psycho Pass. I like it when wild science fiction concepts go all in on the unique selling point.
ID: Invaded is a good anime, all aspects considered, and its unique nature means you aren’t looking at “more of the usual”. So I do recommend it if you liked any of the titles that I referred to throughout the review. It’s a story I would like to see the author take another crack at to elevate it to greatness.
Art – High
ID: Invaded has one of the most distinct art styles for faces, notably in the eyes. Oddly successful. The abstract design of the unconscious is great.
Sound – High
Several solid tracks accompany the series – I’ll be listening to the OP & ED beyond the final episode. The mystery music of ethereal piano notes and sinister violin adds much to the scene. The acting is strong too and you can go with either language to suit your preference.
Story – Medium
A former detective turned criminal investigates cases by diving into the minds of criminals via a machine. This cool concept is a little too abstract for its own good, as it doesn’t give the audience the information needed to solve the case until the big reveal.
Overall Quality – Medium
Recommendation: For sci-fi fans. I recommend ID: Invaded to fans of Psycho Pass and Ghost in the Shell for its unique take on the exploration of the criminal mind to solve mysteries.
Today theme of quick reviews is action anime I liked at one point, yet haven’t seen in a long time and haven’t reviewed. When I did my “Watched but Not Reviewed” list (missing quite a few titles, in hindsight), it brought many anime back to my attention that simmered to the surface until I had the urge to check them out again. Are they as I remember?
We start with GetBackers, my favourite of the three in the past. It even featured an honourable mention in my “Former Favourite Anime” list, so this was important to me. I need to say this right away though: GetBackers does not live up to my memory whatsoever. The art is super budget for this super powered series. The animation is far more of a slideshow than I remember and the characters have little detail, though their designs are unique so clarity isn’t an issue. I swear it looked better in my head.
GetBackers is set in an alternate Earth where some people have superpowers akin to The X-Men (each can do their one thing) and most of these superhumans work as either Retrievers, Transporters, or Bodyguards at odds with one another. It’s like John Wick – you have to accept this is how the world works or we aren’t going anywhere. Main duo Ban and Ginji work as Retrievers, the GetBackers, guaranteeing satisfaction no matter how small or impossible the request. Unfortunately, they are horrendous with money even after a big payday and so live in squalor.
To give a few positives, the main duo is good fun and the humour is successful, for the most part. GetBackers also feature the best – the best – use of chibification in all of anime. If I will forever remember one element of GetBackers for the rest of my life, it will be the chibification perfection. I still laugh whenever Ginji turns into a scared chibi after realising he’s alone with Dr Jackal.
Now for a dose of memory versus reality. I remember GetBackers as an awesome action series with cool powers, varied characters, and a mysterious plot. In reality, we have repetitive action, cool though limited powers, varied but one-note characters, and puddle-deep mystery. It astonishes me how different this is from memory.
GetBackers was in the early years of when I really got into anime and when one is at that early stage, everything is so much more impressive. I believe this was my first super power variety anime (saw Scryed later). I can imagine past me having a conversation with present me, gushing about how cool the powers are and how there are so many, how unique it is, only for present me to pull out 30 anime that do the same and often better. Conversation over.
It’s why I don’t blame newcomers for thinking everything is amazing. Everyone has been there. Every anime is a 10 when you have only seen seven of them. As one’s mental library builds, the flaws start to come out when a superior example is available.
A key detail I never noticed was the repetition. Nowadays, repetition almost guarantees to kill my interest, never mind rewatching the series, as I did several times with GetBackers in its heyday. Ban has the power to make people see illusions for one minute after eye contact. Let me tell you, no word of a lie, that this resolves every case. I love illusion powers and I thought this was the coolest thing ever, but man is it the same resolution every time. A common scene is to have the villain kill the heroes, immediately vocalise his plan/list of compatriots, and then for Ban to say “Just one minute”, revealing it was all an illusion. This is no Sharingan level of cool.
On rewatch now, GetBackers was okay for the first few cases. Once they enter the Infinite Fortress – a labyrinthine slum filled with superpowers – it loses the fun. The anime also didn’t adapt the biggest reveal of the story, which would have explained why people have these powers and why the Infinite Fortress matters. Knowing the twist, however, I’m not sure I entirely disagree with cutting it.
I tried the dub for the first time (none of these anime had a dub at the time) and holy Pokéballs, Shinji, is it not good. It isn’t “they recorded random people on the street” levels of bad. These are clearly actors, just not voice actors. This is a great example of a professional dub that studios thought were fine once upon a time, which thankfully doesn’t fly anymore (at least, I hope not). The lack of energy in the voices, the stiff reads, the monotones, bloody hell, what a disaster. The acting starts bad and only gets worse with each new character introduced. It’s hard to believe the likes of Cowboy Bebop managed a perfect dub when this was normal.
Almost forgot – the OP song may just be the worst I’ve heard in anime. If you want to know my taste in music, then take this and imagine the opposite.
Next we have Kiddy Grade, an anime similar to GetBackers with a variety of super powered pairs facing off, but in a heavy sci-fi setting. Our leading ladies are Éclair and Lumière, agents of the Galactic Organisation of Trade and Tariffs. While the organisation’s name implies involvement only in commerce, it actually has fingers in every space pie (everything comes back to money if you look far enough).
This is a spy thriller with Éclair donning a number of disguises, undercover missions, and gadgets for every conundrum. It explores several “what if” questions from the setting and sci-fi concepts for drama. Even the powers have sci-fi roots. Lumière can talk to computers, for example, and Éclair’s strength comes from body modification. There is effort in the world building.
After the stark difference between memory and reality with GetBackers, Kiddy Grade is about as I recall. I should note that this anime came to me later in the experience track and that I didn’t love it at the time, just enjoyed it enough for a rewatch (when you didn’t have much variety, rewatches were common). My opinion of it has fallen – I lost interest by the end of act one this time – as this is a case where once you’ve seen so many better versions of this story, this setting, this idea, you can’t help but wish for something else. Also, my distaste for lolis has only increased, of which there are too many here.
The similarities between Kiddy Grade and the previous anime are uncanny, right down to espousing the same basic morality lessons – “Being evil is bad.” “Don’t kick puppies.” I never put the two together until this rewatch.
However, Kiddy Grade works better than GetBackers by having more variety, more effort in the narrative through line, and significantly better art. Without looking it up, I want you to guess how far apart these anime released.
Five years? Three years? Three months? Try five days apart. Kiddy Grade is better representative of how standard anime looked in the early 2000s. The production holds up from studio GONZO and the dub is so much better than GetBackers that you’d never guess they came from the same year. It’s fascinating to see.
And finally, we have Witchblade, based on the American comic series of the same name and the anime I had watched last of the three. By the time I got to this, I had seen plenty of anime, so I was under no illusions towards its quality. The question is whether my slightly favourable memories are too kind or too harsh.
This is a more mature series than the other two. A sci-fi action series like the others, except hyper sexualised in the ass kicking. Kiddy Grade has panty shots; Witchblade has death by snu snu. If the shot in the OP of the protagonist wiping streaks of blood across her bare arse, vagina blade in full view, isn’t enough to tell you what this anime is going for, then no one can help. Witchblade is about tall, leggy, busty women in scant armour beating the life out of one another (toned down from the comics, if you can believe it). The Witchblade lusts for battle – literally – as combat turns it on to orgasmic peaks.
And if it were in the hands of a worse team, that’s all Witchblade would be. However, this anime has more to it, for at its heart is the story of Masane doing everything she can to give her daughter Rihoko a better life. Their relationship, not the action, is the spine of Witchblade. In fact, of these three anime, Witchblade has the least action with far more time spent on character and relationships. Furthermore, despite being more sexual than the others by leagues, it is the most mature (and certainly less creepy than Kiddy Grade). It has a surprising romance that doesn’t forget Masane’s status as a single mother. Long before the end of the story, I care for this woman and her daughter. I feel for the struggles they go through as a child welfare agency wants to separate them. And I appreciate how grown up the romance is without changing the tone into a heavy drama.
Should action be your main draw, then Witchblade also delivers. It isn’t repetitive, unlike the other two, nor does it drag beyond its welcome and doesn’t pause to exposit on how the powers work every fight. This isn’t some spectacular anime, of course – more lore, a darker mystery, and more development to the antagonists wouldn’t have gone amiss. It engaged me to the end, however, and that is worth something.
I also like the scientific approach to the Witchblade. If you supposed this device and its power was real, how would scientists approach it? Masane ends up working for a corporation doing such research (they pay her to kill rabid mutants and machines on the streets) and the antagonists come from a rival corporation developing other Witchblades, exploring the genetics of it all. They are trying to make it work with men as well (the device only functions on women).
So much to my surprise after this trio revisit, Witchblade turns out to be the best of the three, no contest. The production quality is also the highest, though it is newest. When considering my opinion of these three at the time I first watched them, Witchblade was the lowest. Now, it’s the best.
Recommendation: I recommend Witchblade – I give it a medium rating, with a low for the other two, which I don’t recommend. GetBackers is too dated, too repetitive, and too long for me to justify, while Kiddy Grade is somewhere in the middle. There is simply so much better these days. If you do want similar from that era, go with Scryed. Witchblade’s focus on a much older protagonist than usual with an older relationship too makes it stand out from the crowd.
Warning: Contains implied spoiler for Code Geass – go watch the series first if you want to avoid any spoilers!
Of all the anime franchises out there, Code Geass is amongst the last I would have picked for a revival. It has, to this day, one of the best endings in the medium. Everything wraps up in a neat, satisfying end that doesn’t need further exploration. It’s done; leave it!
Later they announced the spin-off series Akito the Exiled to mixed reviews and it was largely apart from the series proper. So, whatever. Then they start the Code Geass Movies, which I thought was a simple cash grab that repackages the series into an a set of abridged films (Gundam often does this to maintain interest between new releases). Now we come to Resurrection, the fourth film that promises to continue to story from where the series ended. I look at the poster and see Lelouch featured. If you’ve seen the series but not the movies, you will understand my confusion at his involvement. That’s when I learn the movies changed key events from the original series.
Most notable amongst the changes is the reversal of several character deaths. Pivotal moments that had a significant impact on the story and characters undone without a second thought. One would imagine this wouldn’t go down well amongst fans – surely, the meaningful consequences are one of the key factors that drew them to Code Geass. However, while researching the production of the films and the motivations behind the changes, I would see comments underneath articles of such stupidity that it hurts to be distantly associated with them as fans of the same series. Things like, “Movie so much betta cuz [character] lives and [character] don’t make stpd decicion. Like if agree.” Mastery of language isn’t a strength amongst these commenters.
In discussion with my friend about Resurrection after having watched it together, he tells me of something called “saviour fan fiction”, where fans who don’t like that their favourite character/s died will rewrite the canon to have them survive and often help/save the day. Looking further into the background of these movies, I start seeing this everywhere. Almost everyone who likes the alternate timeline does so because some character doesn’t die. They don’t care that it undermines the story, that the challenges these characters faced is what gave them depth. If not for these complex character arcs, would they have liked the characters to begin with? Whom am I kidding – these saviour dimwits can’t see beyond the superficial.
I haven’t even talked about Resurrection yet.
Resurrection starts shortly after Lelouch brings peace to the world. This time of peace isn’t beneficial to all, however, for the Kingdom of Zilkhstan’s primary trade was in weapons and who needs those anymore? Their ruler, Princess Shamna, kidnaps Nunnally of the United Federations council and uses the girl to amplify her Geass power as tries to elevate her kingdom once more. Many characters from the previous story arrive to get her back.
There are so many problems here – even ignoring the alternate timeline changes – that I don’t know where to begin. Let’s start on the premise. No kingdom, were they as powerful as purported here, would collapse to rubble if they couldn’t sell weapons anymore. One, people would still buy weapons (though not as many) and two, what of their other industries? Did everyone in the kingdom work in weapon factories?
Then we have the characters. The news ones – most of them from the kingdom – are so forgettable. There is this one scene where the crippled prince has Suzaku in chains and starts whipping him with a cat o’ nine tails like it’s some fetish. It’s so random that my friend and I burst into laughter. I couldn’t tell you what the enemy fighters are about. The only new character with a hint of complexity is the princess. As for the returning characters, they are mere silhouettes of their former selves. The greatest issue here is the sheer number of them. It feels as if Resurrection wanted to include the entire cast from the original 50-episode series. Surely, production would be smart enough to know you can’t do this in under two hours. Then you remember this is just fan service to satiate the drooling saviour fan fic writers. Of course, go ahead, cram everyone in and make sure we get plenty of framed arse shots instead of character arcs.
The worst offender is Lelouch himself (to be fair, this is also because he’s the most important). He starts the film as a brain dead simpleton (literally) until CC restores him to health amidst this conflict – nice coincidence to have them hiding in the one village in the world where any conflict is happening. The moment he recovers, he’s back to his old self. No concerns whatsoever for how he got there to begin with after what he did to bring peace. Why do this, why even involve him if you’re going to undo everything? You could have used someone els— Oh, silly me. Of course – fan service!
They don’t even get the strategy right. Code Geass is known for smart characters and smart battles. It pits Lelouch in battles where brains matter more than brawn. Resurrection is nothing like that. Shamna has a cool power, full of potential for interesting battle scenarios. I won’t give it away, as it is the one good element of the story. All I’ll say is that it’s a power which is difficult to figure out. As such, Lelouch has to use deductive reasoning to figure out why she’s always one step ahead. It’s similar to L cracking how people are dying as if by the power of God in Death Note. Unlike that anime, where we see each step of the process, Resurrection rushes through the trial and error stage as Lelouch eliminates the possibilities.
If insistent on going through with this whole alternate timeline story, they should have at least turned this into a series. Everything is so rushed. We don’t get to know any of the new characters, the old characters only have a connection because of what we know from past stories, and the events jump from one to the next too quickly. This feels like a recap movie, not the definitive continuation of Code Geass.
Ahead of Resurrection, I thought I would check out the spin off series Code Geass: Akito the Exiled. This is part of the original timeline, taking place between seasons one and two. It is set in on the frontlines of Europe, where the Britannian Empire is invading the Europia United allied nations. We follow a secret military unit made up of people from all over Europe and Japanese street kids led by an aristocratic girl.
The first thing that jumps out to me is the accents in the dub. Set in Western Europe, they made the effort to give accents to characters from different countries, something I very much appreciate. They work – for the most part. The French accents, sadly, all use the wrong ‘r’ sound. It’s placed too far forward in the mouth (sounds more German) and makes me tick each time I hear it. An absolute minor nit-pick that most won’t matter to most – hell, most won’t even notice! – but I notice it every. damn. time.
Enough of accents. Akito the Exiled is better than I expected for a spin off series (the bar is set to low). Not to say it’s great or that it lives up to the Code Geass name. The action is engaging enough – could do with less CG – and the characters are fine, if a bit too simple. Unlike Resurrection, where the new introductions get 30 seconds of characterisation, Akito’s [almost] entirely new cast has far more depth and actual arcs. I should have mentioned Resurrection has no arcs.
I also like how it centres on a different part of the world. If you make a spin-off, it’s good to have something new. In fact, the worst aspects of the series are the tie-in elements to the original, namely the inclusion of Geass powers and the appearance of Lelouch. The powers feel tacked on and the villain’s power is a worse version of Lelouch’s Geass. He never uses it in an interesting manner. Would have been better without it.
Lelouch’s appearance is worse, as it comes across like a fan service cameo. He gets sent to take over the operation on the European front. The story sees a notable dive when he joins. I’m just asking myself the whole time why he’s there. The answer is obvious, of course – fan service – yet I still wonder.
Do I recommend either of these? Resurrection, definitely not; Akito the Exiled, maybe. The latter is decent for Code Geass fans that want to see more of the world, whereas the former undermines the value of the original. It should be offensive to any fan.
Art – High
The Code Geass continuations still look good – the movies more so than Akito the Exiled, where CG battle scenes are jarring amongst the 2D. Hard to fail here when coming off the back of the original.
Sound – Medium
There is a notable drop in script quality, though the actors still give it their all. The soundtrack, unlike the art, hasn’t maintained some level of quality. Utterly forgettable. Akito the Exiled’s writing is better.
Story – Low
Akito the Exiled shows us the war with Britannia on the European front, while Resurrection continues the series as a new threat rises in the time of peace. Akito the Exiled isn’t an awful supplement to the series, expanding the world and giving us a new set of characters. Resurrection, however, is bad fan fiction.
Overall Quality – Low
Recommendation: Avoid the Code Geass movies, especially Resurrection. Give Akito the Exiled a try if you want more that isn’t garbage.
Memories is an anthology of three short films that brings together several big talents of the anime industry. All three are based on manga works from executive producer Katsuhiro Otomo (director of Akira), however are directed by three different directors.
Magnetic Rose, first of the three, comes from director Koji Morimoto (animator of Akira, Kiki’s Delivery Service) and writer Satoshi Kon (Perfect Blue). This follows a pair of engineers working for a salvage company sent to investigate a distress call from an abandoned space station. Inside, they find a residence of such opulence that it would match European palaces of old. It isn’t abandoned either. The opera singer who once lived here seems alive in the very bolts that keep this place together. Hologram or hallucination, the two men can’t differentiate as she pulls them deeper into her tragic past.
Of the three, Magnetic Rose is easily the best in all regards. Whether talking story, art, music or atmosphere, this is a level above the rest. You immediately feel the styles of Morimoto and Kon. The measured pace, the emphasis on atmosphere and emotion over dialogue, the attention to detail in all of the art, and the psychological tension are telltale signatures. I get strong Dead Space vibes. The madder things get, the more it draws me in. I love it. The only area for improvement is in giving depth to the characters. There is enough here to work, but more wouldn’t have gone awry.
The second film is Stink Bomb under the direction of Tensai Okamura (creator of Darker Than Black). This one is more of a black comedy around a horror scenario. A lab tech tries his company’s experimental cold medicine and takes a nap at work. He awakens to find everyone dead. Turns out this wasn’t cold medicine at all. He has become a living gas bomb, only he doesn’t realise this as he makes his way back to Tokyo with the secret formula.
Stink Bomb feels like it would be a perfect fit as an episode to Ghost in the Shell: Stand Alone Complex. It’s all about the ridiculous scenario – equal parts comedy and horror – without much to the characters or the story beyond that. The more the death toll rises, the funnier it gets. The visuals are great here, particularly in the animation.
Otomo himself directs the last of these films, Cannon Fodder. This is a simple story set in a steampunk city that revolves around firing cannons in an endless war. There are cannons everywhere. Instead of skylights, buildings simply have more cannons. We follow a cannon loader as he goes about a day on the job.
While the most unique visually, Cannon Fodder is the shallowest and least interesting of the three. It’s more of a presentation for a world concept than it is a complete story. I take this an allegory on Japan’s “salary man” work life, where one is slave to the company, no matter the abuse received from higher up, living each day to work so you can pay the bills to live, stuck in this endless “war”. We even have the contrast of the child who wants to become the cannon officer (orders when to fire cannons), as children often do when idolising what their parents do for work (parents haven’t the heart to tell them of reality). An interesting concept, but not the most memorable.
Overall, I highly recommend Magnetic Rose (the worst thing about this film is reminding me that Satoshi Kon isn’t around anymore to share more of his genius with us). Try Stink Bomb if you want to continue, and then you may as well finish Cannon Fodder to complete the anthology. You might want to end on Magnetic Rose to close with the best.
Art – Very High
All three films feature a different style – Cannon Fodder especially – under the guidance of different art directors, all of which succeed in augmenting the tone of their respective stories. The animation is beautiful too.
Sound – High
The voice work is good for the most part. Standouts of the audio department are the sound design of Cannon Fodder and everything audio in Magnetic Rose, which delivers a haunting atmosphere.
Story – High
Three short stories: engineers investigate a haunted space station in Magnetic Rose; a hapless chemist becomes walking death in Stink Bomb; a look at a day in the life of citizens living in a city all about firing cannons in Cannon Fodder. The order of appearance happens to be the descending order of quality.
Overall Quality – High
Recommendation: Watch Magnetic Rose, try Stink Bomb, then finish with Cannon Fodder if you want to complete the set. Memories is also good for showing to those who aren’t usually interested in anime.