Mobile Suit Gundam: The 08th MS Team takes the core concepts of Gundam – mecha, war, politics, and romance – and compresses it down into a 12-episode package. It succeeds in delivering quality for all of those elements save one, in part.
The 08th MS Team brings war to the jungles of Southeast Asia. Ensign Shiro Amada of the Earth Federation leads a special squadron of guerrilla Gundam, ferretting out the scattered remnants of Zeon presence in the area. The Federation won the last war and mean to press the advantage. Shiro’s resolve wavers and – more importantly – his loyalty comes into question when confronted by Aina Sahalin, Zeon pilot and previous acquaintance, across the trees. She’s also sister to the psychotic enemy commander. The traitor title seems to suit Shiro best these days.
One thing I must say is how good 08th MS Team looks even by today’s standards. Wouldn’t guess it’s a ’90s anime. They put a lot of work in considering this is a series and I want some of these cels for my collection. Seeing this quality from scene one puts me in a good mood.
Such effort brings the guerrilla warfare to life and makes every damaging shot on the mechs have impact. It isn’t a flurry of laser beams flashing across the screen with little weight. The action takes a slower, more tactical pace than the usual Gundam spectacle (nothing against the spectacle, or course). As I said, everything is scaled down and it works. When a franchise has as many series as Gundam does, it’s good to have variety even if not always to my taste (such as Gundam Build Fighters).
The characters are a strong and varied lot. The writers made them relatable with their simple ambitions outside of war. They have grounding. You want them to survive to see better days. Zeon similarly features such human characters. Of course, there are a few crazies on both sides to play villains. Further beyond the major characters, 08th MS Team emphasises the burden of war on innocent locals, a side often forgotten when merely glimpsed on the evening news. Yes, the Federation is eradicating evil (according to them) hiding in this jungle, but this jungle is home to ordinary people as well. Even minor characters don’t feel superfluous.
Then we come to Shiro and Aina as a couple. They’re good as individuals, yet their connection is the core of the personal conflict, which doesn’t hit the target.
If you’re going to have characters make grand gestures of love and put a lot on the line, you need to give something to hang those actions on. Build those foundations first and then I could believe anything they do for love. It’s surprising to see the main coupling only hit mid-tier development when character depth outside of this is solid. I find the main issue is a lack of screen time for these two together. They meet early on, but don’t reunite again until too late to develop their relationship to a meaningful level. The romance is simple – not a bad thing inherently – and lacks a second act where it builds beyond initial attraction into something with promise of longevity. They meet, and then skip to “I’ll die for you.”
Beyond that, I don’t have any notable complaints with 08th MS Team. I can recommend this great anime widely, beyond Gundam circles.
Overall Quality – High
Recommendation: Watch it. If you aren’t familiar with Gundam, Mobile Suit Gundam: The 08th MS Team is a great introduction and standalone series. If you are familiar, then this is one of the best the franchise has to offer.
Macross, often known as Robotech in the West (more on that saga later), is a classic of mecha sci-fi anime. A cursory glance at the series paints a picture of a Gundam clone. As a fan of Gundam, I had no problem should that be the case. However, the differences are significant.
They make Macross worthwhile.
Today, we focus specifically on the first entry of this long running franchise, Super Dimension Fortress Macross (like the first Mobile Suit Gundam, they needed to change the name to differentiate from other entries). Shortly before the new millennium, an alien spaceship crash-landed on Earth. A united humanity worked for a decade to reverse-engineer this technology in anticipation of the aliens’ return. They succeed in creating SDF-1 Macross, a city sized spaceship, but its maiden voyage also alerts the Zentradi aliens out in space, bringing them back to Earth. An attempt to escape and draw alien attention goes awry and the Macross teleports deep into space, taking the nearby water and town with it.
A hasty salvage mission brings much of these surroundings – civilians included – on board the gargantuan ship. They must now make their way home while establishing a normal life inside and fighting off threats outside. Amongst the crew is Hikaru, a young pilot, and Lynn Minmay, a flighty singer and the target of his affections.
Macross’s first hook into me is the teleportation of the town alongside the ship. Bringing an entire town aboard a ship is something different indeed and is a clever way of having ordinary civilian life within a grand space journey. In long journey Gundam series – a much more serious and realistic franchise – you can’t get away with this. The most Gundam can sell to the audience is bringing a few civilians aboard the main ship, while cutting away to other characters elsewhere amongst the populace. Macross can go from dogfights in space one episode to a walk in the park next episode for the same characters. This completely changes the tone of the series. I love the cosy feel and balance offered by this dynamic. It’s more fun than Gundam. Not to suggest it lacks dramatic moments, of course.
The alien Zentradi are humanoid giants obsessed with war. Everything in their society revolves around combat. And this is where Macross’s greatest difference and best selling point compared to its peers comes into play. What starts as a war of weapons and bodies soon turns into a war of culture. Culture is humanity’s secret weapon.
One of the first major social events aboard the Macross, in an effort to create a normal life, is the Miss Macross contest. Minmay wins, which launches her off to stardom as the most famous person in Macross “city”, netting music, film, and sponsorship deals. Her music inspires the people. She will even perform live to calm everyone as war rages outside. The Zentradi intercept her broadcast and have no idea what’s going on. They’ve never heard music before. This launches infiltration missions to figure out what’s going on and perhaps capture some of this…whatever this is! The more they encounter human culture, the more bleeds out to the aliens. “I like this ‘music’ thing,” some think to themselves. “Why are we trying to destroy it again…?” A song called Lili Marleen inspired Minmay’s character, as it was popular by both the Allies and Axis during WW2.
This very much mirrors accounts of North Korean defectors. Most North Koreans would swear up and down that their country is great, superior to other countries, but they don’t know any more of the real world than what the government propaganda feeds them. However, there are leaks. South Korean TV dramas are a favourite with North Koreans, surreptitiously watched on smuggled discs with the threat of eternal labour or death hanging over their heads. In these k-dramas, they see a version of life beyond the border and begin to long for it. (I recommend Crash Landing on You on Netflix if you want a great k-drama involving North Korea.)
Needless to say, this aspect of Macross is excellent. It also leads to the most hilarious kissing scene in anime history in the third act. One of the funniest moments I’ve ever seen. Pure gold.
To talk of the characters, there isn’t too much to say. Most are solid, decent characters for their roles. If you are familiar with the casts of old Gundam series, you will see similarities, which is fine. An all-round decent cast. The only one to stand out is Minmay and I wouldn’t say for good reasons. The kinda romance between her and Hikaru isn’t engaging. First, she’s far too flaky and meek for someone like him. Young guy sees pretty girl, his brain shuts off, he “falls in love”, yes, but I don’t buy that he would keep chasing after another more mature woman shows interest. Minmay is the sort of woman that would have men leaving her every few months as her fans cry, “Are they crazy? How could they leave someone as kind, attractive, and famous as her!?”
Yet others would say, “No matter how hot she is, someone out there is sick of dealing with her shit.” Discussing the series with friends after finishing it revealed that I am not alone in my sentiments towards her. She is a divisive one. Her role in the story is great, don’t misunderstand me, but her character is irritating.
Before I leave you with my recommendation for Macross, I must talk of its release in the West and why you may have never heard of it before, despite a new release every few years. Macross first came out in English as Robotech in 1985, combing three different series and not even from the same franchise – Super Dimension Fortress Macross, Super Dimension Cavalry Southern Cross, and Genesis Climber MOSPEADA. The explanation was that one series alone was too short for American TV at the time (required 65+ episodes), so they decided to combine three and make a new story. It doesn’t end there!
Macross wouldn’t receive an unedited, clean release with a dub until 2006, almost 24 years after creation. Interestingly, Minmay has the same voice actress and singer in both Japanese and English. Her voice stands out amongst the Americans, though it is authentic. The distribution rights are still a nightmare. The US distributor only has rights to SDF Macross as a legal battle over the Japanese rights has circled back to throw the English rights into question. The other series, as far as I’m aware, have never had foreign release. Absolute mess!
This dub comes with the advantage of remastered audio, should Macross’s age be a turn off, and it is a good dub. The animation is a bit jank, a far cry from what the likes of Gundam was putting out at the time, though it has charm.
I thoroughly enjoyed Super Dimension Fortress Macross and I will be going onto the next series.
Overall Quality – High
Recommendation: For classic anime fans. It may be a little rough around the edges, yet Macross still holds up as a worthwhile anime today.
Bokurano is an easy anime to sell with a premise such as this. A giant machine is the only thing that stands between the monsters and Earth. However, each use of the weapon requires a blood sacrifice. The life of a child. Who wouldn’t want to watch that? Alas, here we have a perfect example in the importance of character over premise.
These 15 children don’t have the qualities to make an audience care for their fates and ultimate demises. The boys – bar one – are evil, one of them even forcing himself on a girl. The first episode has one guy slap the life out of the smallest girl and no one does anything about it. “Stop it,” they say with as much energy as a sloth. He will do this again in future, many times. Are we to feel sorry that these kids will die? The girls are all meek, spineless. It takes attempted rape for one to fight back. These kids don’t make sense as friends. I don’t see the point of having 15 kids, other than to give more sacrifices for more episodes, when they are all so similar. For such a group, the logical direction would be to have a variety of personalities. Go for the sentai archetypes. That might come across as generic, but killing them off one at a time is different.
Fewer characters would also help, as it gives more time for development. The structure of Bokurano is to dedicate a couple of episodes leading up to someone’s sacrifice. We see their entire sob story in this time to make us care for the death. This structure has three problems. This first issue is that it lowers the drama and mystery when you already know who will die. The second is that two episodes isn’t enough to kill off what essentially becomes the protagonist for that short time. Two episodes is what you dedicate to the old lady in the village that helped our adventuring party before the villain kills her for information on their whereabouts. The writing also needs a more subtle hand at characterisation. And lastly, most kids disappear from the story until it nears their time to die.
I have the impression that the author had the wrong approach in thinking about this story. Instead of planning for, “Alright, I need to kill someone every second episode or so, because that’s the premise,” one should think of it free from the premise for a second (and cut down the character count). Let’s say you had a party of seven friends and your story idea was to see what it would be like to kill each off one at a time (no special mechanic to kill them), rather than the usual story of everyone surviving to the end with the power of BFF friendship. How would you plot that? Would you kill them off at equal intervals or keep the audience on their toes about who will die and when? Bokurano uses the former method.
It’s hard to describe the boredom in the face of imminent death when a story tells you everything that is yet to pass. Add in the not-so-subtle yet flat characters and I am on cruise control from start to finish. And what’s with all the rapists?
Bokurano isn’t a bad anime. This is a case where every element except for the music (love the OP song) has an obvious flaw weighing it down. Confining everything within this predictable structure just to fit the initial idea of the premise means Bokurano can never be more than average.
Overall Quality – Medium
Recommendation: For fans of Evangelion-like anime. You have to be in it for the premise, as the execution isn’t up to scratch.
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.