Galaxy Railways Review – 77,5/100



Matsumoto Leiji once was the pioneer of space operas, even before Yoshiyuki Tomino came with Mobile Suit Gundam. His influence was huge, and so even in the 21st centuries, his adaptations are still getting themselves spin-offs every now and then. The Galaxy Railways obviously based itself around the concept of “trains in space”, and while I wouldn’t recommend this series to someone who’s looking for a good introduction to Matsumoto Leiji’s style, it nevertheless is a pretty decent action-series.

The basic set up is that there are trains who travel through space. There sometimes (read: nearly every episode) goes something horribly wrong with them, and it’s up to our main characters to save those in trouble, acting as a combination of the royal defence force and a rescue squad. While trains randomly crashed a bit too often for my liking, the individual episodes were helped by the fact that the creators tried to stuff in lots of different ideas into their stories, whether they made sense or not. The series also has a great selection of character-designs. Matsumoto Leiji’s designs have always stood out, and the creators of this series did a good job of giving them a modern and epic look.

Unfortunately, the series does have a number of large and quite annoying flaws: it has both of what I’d like to call a “bad main character syndrome” and a “bad ultimate villain syndrome”. Manabu just keeps whining on and on about ethics and morals, and especially spends the first half defending his cheesy ideals. As soon as he starts developing, he thankfully matures, but as a result he becomes a bit too perfect of a character: loved by all women, perfectly skilful, no flaws left whatsoever. His female love interest is completely the opposite: completely useless throughout the largest part of the series. The side characters are the ones who end up saving this series: Bulge, Bruce and especially David are great to watch.

And regarding the villains who pop up in the final climax of the series: they’re just a cheap rip-off of the Mazone from Captain Harlock. There’s a difference between a homage and a rip-off, and in this case the creators didn’t seem to realize what made the Mazone work so well: they had firm resolutions: they considered their alternatives and went with the one that involved ending tons of lives. The villains here are somewhat stuck between good guys and “yeah, we weren’t evil; we were forced to wipe out half of the universe; have pity with us”. To be honest, it feels rather fake.

And it’s really a shame, because the rest of this finale was good stuff. It would have been epic if the main character and villains weren’t so annoying. Overall, it’s definitely not the best series, but there definitely were some good episodes in these first 26 episodes. However, the best thing that you should do if you want to get a taste of Matsumoto Leiji’s signature style is simple: check out either Captain Harlock, Queen Millenia or Galaxy Express 999.

Storytelling: 8/10
Characters: 7/10
Production-Values: 8/10
Setting: 8/10

Mobile Suit Gundam 00 – 35



Short Synopsis: Rivonze reveals a destructive death-ray from his arsenal, the final Innovators get introduced and a certain crazy deranged returns.
Overall Enjoyment Value: 7,5/10 (Good)
Okay, just when you thought that those innovator names couldn’t get any weirder after Revive Revival. “Bring Stability”, “Anew Returner”, “Healing Care”… you’d wonder whether these guys are trying to prove a point or something. And the weird names are one thing; I actually think that they’re simple code names, but why doesn’t Rivonze have such a ridiculous name, I wonder? If they’re going to create a patter, why shouldn’t the leader be called something as Imake Anewworld, or whatever.

In any case, in order to create this new world, the Innovators have another typical Gundam staple on their hands: the incredibly huge death ray, this time nicknamed Memento Mori. It’s getting fired surprisingly early, though. Its power in the other Gundam series is that it couldn’t be used often due to the huge energy consumption, but when it was used, then things turned out baaaad. An overuse of such a huge weapon… well, Code Geass showed that to us. The whole thing loses impact. But then again, it would be bad for this series to follow too much into the footsteps of the other Gundams, and of course, firing it from one of the energy towers does explain why it can be fired quite easily, although I do want to see countries running out of energy in the next episode.

The cliff-hanger of this episode was a pretty bad one, simply because it was so incredibly obvious that Sergei is just going to survive. It’s a bit too predictable. On the other hand, I didn’t see Hallelujah’s return coming, even though that one was built up nicely by a few subtle hints. This also confirms that Soma Peries hasn’t completely left, and I wonder what’s going to happen if she ends up against Hallelujah.

Anew Returner obviously is a spy, having been sent by Wang Liu Mei, but the question still remains how exactly she’s related to the Innovators: is she like Nena, or instead a direct subordinate of Rivonze? I could have sworn seeing her somewhere with the other Innovators at one point, so I guess it’s the latter.

What the series now needs to do is make sure of the political repercussions of the Memento Mori death ray. Surely, people are going to doubt the good intentions of A-Laws when they’re firing at their own people and allies, and the resistance against these people should increase.

Telepathy Shoujo Ran – 24



Short Synopsis: Animals start acting strangely in Ran’s hometown.
Overall Enjoyment Value: 7,5/10 (Good)
Well, it’s finally time for this series’ finale, and as it turns out I was wrong about the amount of novel volumes: there are just eight of them, not nine. The final arc, if I’m not mistaken, comes from the third or fourth volume, which proves that the creators really grabbed themselves the opportunity to select the most appropriate story for the series’ finale.

And I must say that up till now, they’ve made a pretty good choice. After all, they could just as well have gotten with the… Snake Island Arc… Yeah, that would have been exciting. Anyway, this episode definitely served its purpose as introduction. As usual with the introduction-episodes to these arcs, nothing much exciting happened, and yet this episode in particular had something ominous: you know something really bad is about to happen, and this episode did a great job of building up that feeling. Especially those crows crashing into the window were… strange to say the least. And yeah, so what if it’s nowhere explained why this evil spirit has chosen this time and space to re-awaken. This series was never famous for its brilliant introductions. ^^;

And the end of the series had another advantage: the series was planned well, and so there’s lots of nice budget left for some solid animation for that final arc. Especially the scene following the pillow thrown at Rui showed that the animators had lots of fun animating it. This episode also brought Ran’s class to life a bit by its small attention to the new teacher and one of the random classmates. So overall I’m happy.

Please, let this series end with a good climax, instead of a downer.

Jigoku Shoujo – 62



Short Synopsis: A boy whose mother is nearly committing adultery calls the Jigoku Tsuushin.
Overall Enjoyment Value: 7,5/10 (Good)
(A small note: I’ve decided to pull the “highlights”-bit from my entry introductions. I just have too much trouble for each episode to come up with something to say in it)

A surprisingly quiet and focused episode for this series. The whole themes of sending someone to hell who doesn’t deserve it still remains, but for once the main character spends a lot of time trying to figure out whether it’s worth it to send a random guy to hell, just because he’s toying around with his mother.

What we have here is a typical mother’s boy. His parents are starting to live apart from each other: his mother is irresponsible and only thinks off buying pretty kimonos, while his father is out all the time and takes out his frustrations on his wife. Very down to earth flaws… when compared to all the emo teenagers of the past few episodes (not that that’s necessarily a bad thing, of course ^^;).

For once, I also felt that the main character in this episode was smart. At least for a Jigoku Shoujo Mitsuaganae-main character anyways. Sure, he does send a random guy he dislikes to hell, but in the end he does come out as a bad character: he feels regret, and yet is willing to move on despite the screw-up he made. He realizes that it’s his mother’s nature to want to be surrounded by guys who tell her she’s great, and I understand how Hone Onna could sympathize with the mother.

I think that at this point, Yuzuki should become the next Tsugumi. In this episode, she got enough chances at trying to save the next victim of Enma Ai, but she took none of them. Where the main guy learned from his mistakes, you should suspect that the same is going to happen to Yuzuki. In any case, it would be great for her to become more than just a simple bystander. While I’m normally in favour of main characters who simply play as bystanders, it shouldn’t be that their roles become completely oblivious. I mean, has she actually done something useful in the series?

Tytania – 09



Short Synopsis: Lydia goes on an adventure inside the Tytania Headquarters.
Highlights: Ajman… what the…?
Overall Enjoyment Value: 7,5/10 (Good)
Well, that was solved surprisingly easy, although Lydia now is officially inside Tytania. This was a very strange episode overall, especially for this series. You just wouldn’t expect the creators to just dedicate one entire episode to the escapades of a spoiled little girl. It did serve its purpose, though. The slow pacing of the series is finally beginning to pay off, and I’m beginning to warm up to the characters. It’s at least good that the characters are getting multi-dimensional and away from the stereotypes before the real action can start.

But really… Ajman was portrayed in a very disturbing way in this episode. He’s probably the most stereotypical member of the cast, but this episode portrayed him as some sort of obsessive old guy who has too much free time and likes to stalk little girls. Wtf?!

Oh, and it also seems that Lyra is about to return to the series again, and I really hope that she’s going to make a more positive impact than her first appearance. Ah well, at least I’m glad that the creators didn’t try to put in some silly love triangle or something.

There’s one thing I’m wondering, though. Is 26 episodes really the right amount of episodes for a series such as this one? I’ve read somewhere that Tytania is smaller than LoGH, but with this pace the second half is going to have to try and cram in a lot of development in order to put in a satisfying story. I think that 39 episodes for this series would have fit a series of this calibre better. Politics and short series never went together well.

Shikabane Hime – 10



Short Synopsis: A TV-priest uses his Shikabane Powers to impress viewers.
Highlights: Finally it looks like the show’s about to arrive at the real meat of the story.
Overall Enjoyment Value: 7/10 (Enjoyable)
Well, like Birdy the Mighty Decode, it looks like the whole first season is just meant as one big build-up for the second season. This episode finally introduced the major antagonists: the seven blacked out people from the OP. Half of the episode portrayed them as Shikabane who track other Shikabane down and kill them, the other half portrayed them as ruthless schoolgirl killers. Yeah, they were the ones who killed Makina, and they’re probably the real reason why she’s fighting as Shikabane Hime.

The rest of the episode was pretty quiet, but that makes sense. If the creators want to end the first season with a big climax, then this is the perfect place for a bit of a quiet pace before the final arc. My guess is that there, Ouri is going to get his own Shikabane. Whether he’s going to take over Makina, or his big boobed classmate is going to play that role is still the question.

Speaking of which, they were nice and all but these boob jokes really have to end at some point. It’s not really those jokes themselves that get me, but rather that Ouri’s classmates has been turned into a paper bag by them. He started out as quite an enthusiastic classmate, but nowadays all he’s good for is to oogle over all the pretty girls that surround Ouri. Really, get a life!

Casshern Sins – 10



Short Synopsis: Dio prepares an army to go against Casshern.
Highlights: Good! Focus on the bad guy!
Overall Enjoyment Value: 8/10 (Excellent)
Well, I should have known. As awesome as this series is, it still has to obey the Golden Rule of Anime: a character is dead, only when you get to see the dead body appears on screen some way. Luna is alive, although I’m not sure how Casshern found out about that one, but I probably missed a vital piece of dialogue in the previous episode.

In any case, this episode wasn’t the best of this series by far, but it nevertheless was an excellent one, and a very important one as well. Too often I see anime whose bad guys are hardly fleshed out at all. There’s hardly any chance to get to know them, and that’s why they very often fall into the pit of stereotypes. That’s why I’m glad that Dio’s development starts relatively early in the series, when this episode gives him a full episode of attention. I’m already beginning to warm up to the guy.

Also, there really is lots of hugging in this series. I think that this has multiple purposes. For one, it’s very cute, but it also symbolizes warmth; a stark contrast to the cold and dead world that the series is set in, and fully connected to the series’ themes, of trying to do something with your life, even though the world is only getting destroyed.

Michiko e Hatchin – 07



Short Synopsis: Michiko finds love while Hatchin’s shoes get stolen yet again.
Highlights: Very subtle romance.
Overall Enjoyment Value: 8/10 (Excellent)
You know, usually in travelling series that have more than one main character, the different episodes usually centre either around one of these characters, or multiple characters involve themselves with the same storyline, while the others play cannon fodder and stay in the background. In Michiko to Hatchin however, both Michiko and Hatchin have their own stories for the past few episodes.

This episode too: Michiko developed a crush on a married guy who was planning on committing adultery, and Hatchin yet again got attacked by childpunks who stole her shoes. And even during the episodes that are really focused at one of the two, you can see that the other one isn’t just doing nothing or watching paint dry.

This episode was also about the growing conflict between Michiko and Hatchin. Michiko obviously isn’t suited to raise a child (she slapped her like what, four times just this episode?), while Hatchin has finally someone that she consider as a mother that she doesn’t seem to get that Michiko just isn’t fit for raising her. And yet at the end of this episode, Michiko does show that she cares about her (although ow did she know that Hatchin was about to drown?).

Bonen no Xamdou – 17



Short Synopsis: Nakiami arrives at Tessik, Haru starts moving again, Akiyuki still really doesn’t do anything, his mother discovers her ex-husband’s little secret and Kagisu is one big bastard.
Highlights: Still surprisingly quiet, and still surprisingly engaging.
Overall Enjoyment Value: 8/10 (Excellent)
I must say that with the current arc, Bonen no Xamdou has really set itself apart from all other anime. Sure, this isn’t the first time where a middle arc takes a step back in favour of a quiet atmosphere, dedicated to fleshing out the side stories, but I can’t recall having such an arc so well done as this one. This arc not only gets the chance to flesh out a number of the side-plots and set up for the finale, but it also pushes the story more forward and especially it never stops developing the characters.

I also now understand what the title of this series means. When Akiyuki first showed up with that mask, I really didn’t suspect that the creators actually had the guts to just put him into a vegetable state for more than three episodes, and who knows when he’s going to recover? The “Lost Memories”-part of the title seems to suggest that his lost memories will form a central theme and focus in the series, so the chance might be that it’s going to take until episode 26 for that to happen.

If this series is ultimately about Akiyuki’s lost memories, then we can also predict a bit what will happen to Furuichi. He’s been continuously portrayed as Akiyuki’s rival, or antagonist, and both of their “senses” disappeared around the same time, suggesting that they’re meant to show the same process through different roads. Incidentally, both of them threw away their faces, they just did it in different ways. We’re going to have to wait a bit to see what this actually means, but the eye-ball is definitely a huge clue, especially since it started talking and eating in this episode. My suspicion is that this eye-ball is Akiyuki’s Hiruko, who’s managing to free himself from his arm. This episode revealed that those strange wobbly thingies are actually the Hiruko who are unbound to a human being, and who knows: perhaps there are more forms of these creatures?

Also, Haru seems to be coming into action again in the next episode! That sudden laugh of her seems to suggest that she hasn’t just grown stronger, but still, like everything in this series I really doubt that that hysterical laugh was what it looked like. She really does have guts, though, and I wonder what she’s going to do after escaping: saving her sister, searching for Akiyuki or doing something completely different?

An Attempt to Hype Konnichiwa Anne: The Upcoming 26th World Masterpiece Theatre Series

Just for the information, for the upcoming winter-season I’m again planning to not look at any of the promo material of the upcoming series, so again I won’t be writing a preview for it. I’m going to make one exception for this, though: Konnichiwa Anne, the next instalment of the World Masterpiece Theatre. I figure with such a title, and the “kids”-label most people who might be potentially interested in the series will be turned off before the series even started.

For those of you who don’t know about the World Masterpiece Theatre, here’s a short description. They started back in 1975, and each year, a new series of usually around 52 episodes would be shown as an adaptation of a famous children’s novel. One of the big trademarks of the franchise was the huge focus on creating “real” characters: characters that felt like real people. The different series come in all sorts of different sizes: sometimes they get gut-wrenchingly sad, others are quite light-hearted, others are inspirational. They can be surprisingly mature for mere children’s’ series, and therefore are also an excellent watch for the older viewers.

This has both its good and bad points. The good side of the franchise is that because the characters are so well fleshed out, they become a delight to watch, and they’re very easy to identify with as a viewer. The bad side is that nearly every series of the franchise is very slow paced. There are a lot of slice of life moments that help to identify and define the characters in question, and if you can’t enjoy those, you probably won’t find much enjoyment, and the series will most likely bore you to death.

Anyway, about Konnichiwa Anne. It’s based on the novel “Before Green Gables”, which is the prequel of the famous children’s novel “Anne of Green Gables“, a novel by Lucy Maud Montgomery, and adapted in 1979 into an anime by Isao Takahata of Ghibli-fame. The original series was a slice of life series, which depicted five years out of Anne’s teenaged life.

Before Green Gables actually wasn’t written by Lucy Maud Montgomery herself, but instead by a completely different woman: Budge Wilson. She wrote it in 2008 as the 100th anniversary of the original novel, and it can be very well considered as professional fan fiction, telling about the first eleven years of Anne’s life, which only had been hinted at in the novels (or the anime, at least). What the tv-series told us about Anne’s past was that her parents died when she was only three months old. She then moved from family to family, living there as something as an unwanted child for those already overcrowded families, eventually ending up at an orphanage.

So my prediction is that this series is going to be completely different from the original Anne of Green Gables anime, and that instead it’s going to be a very dark but heart-warming slice-of-life series with quite a bit of drama every now and then.

The problem with this series is obviously going to be that there’s a very low chance of it actually getting subbed or licensed. I was hoping that the fanbase of Akage no Anne would at least give this series a small advantage over Les Miserables and Porfy no Nagai Tabi, but it’s nearly one month until broadcast and the information about the production staff hasn’t even been announced yet for goodness’ sake. All we know is that it’s going to be the next WMT and that it’ll be based on the book Before Green Gables.

However, if you’re a fan of sad slice of life series, then I do urge you to give this series a chance if it does get subbed somehow. In any case I’ll probably be providing a detailed summary for each of the episodes, for those who want to watch it raw but are still uncomfortable with Japanese. The World Masterpiece Theatre Series are actually relatively easy to understand.