In a decade rife with stellar release from Studio Bones, RahXephon stands out. An ambitious and sleek production which draws upon a diverse mix of sources from obscure Mayan lore to classical music to create a symphony of unparalleled beauty. Continuously stunning, it deftly handles a wide cast of characters as well as a plot laden with symbolism which bountifully rewards shrewd analysis and constant attention. At a time when the mecha genre was overburdened, RahXephon excelled by weaving a story unshackled by genre tropes and creating a genuine classic of immense longevity and awesome breadth.
rich in emotion and poignancy, the deaths cut deeper, the passion clings tighter
Ayato Kamina lives in the last bastion of humankind: Tokyo; a cataclysm having supposedly wiped out the rest of humanity. When an attack strikes the city he is aided by woman who claims to be able to explain the chaotic world he lives in. After awakening the humanoid machine RahXephon he and the woman, Haruka Shitow, are transported outside of Tokyo and he discovers the lies perpetrated by those in power: that Tokyo was forcibly cut off from the rest of the world and a race known as the Mu are responsible. Despite his reticence, he is the only one who can operate the RahXephon and with it the capability to defeat the Mu's warmachines, the Dolems. Throughout all of this is the mysterious Reika Mishima who appears seemingly without reason and the quiet but whimsical Quon who seems to have a connection to both Ayato and the RahXephon. Ayato's position as an Instrumentalist may have bigger consequences than simply the defeat of the Mu.
The danger with a seven movie project such as Kara no Kyoukai is that certain entries will be little more than stop-gaps meant to prime for forthcoming releases. This could be no more worrying than with a title suffixed "Part One", thoughts of incomplete plots and abrupt conclusions abound. The series has somewhat mitigated this by chronologically shuffling the releases; whereas the first movie was keen to eschew understanding for suspense and action, the second favours a sedate but no less gripping narrative that starts at the very beginning of Shiki and Mikiya's relationship.
the characters all occupy a space in the penumbra of supernatural fantasy and routine reality
Meeting by chance on a snowy evening, Mikiya - bespectacled and easy going teenager - strikes up an uneasy friendship with Shiki - a kimono-wearing misanthrope - which gradually leads to an infatuation with her. Grisly murders meanwhile are happening around town with bodies gruesomely disfigured or dissected and as the number increases, evidence points to Shiki who frequently roams the solemn town in the night time hours. Mikiya's cousin Daisuke is investigating the murders which indirectly leads to Mikiya becoming mixed up in them. Events escalate and a confrontation between Shiki and Mikiya takes a deadly turn that has long term consequences.
The CLAMP powerhouse whirs back to animated life after the juggernaut of Tsubasa Reservoir Chronicle and the most recent xxxHolic, this time with a protagonist that has a more than coincidental likeness to a certain green-haired girl created by Kiyohiko Azuma. Kobato is an undeniably twee production but, unlike other outputs by the all-female studio, lacks a more engaging overarching story.
whereas series like Chobits had a dearth of possibilities, this seems inspirationally barren
The titular character Kobato drifts down to earth in a swirl of cherry blossoms and flowing hair, finally exclaiming that she will "do her best". Not the most original of introductions but the opening melody by the superb Maaya Sakamoto is reason enough to continue. What follows is relentlessly saccharine as the protagonist is set on a mission - by her gruff and obnoxious stuffed dog Ioryogi - to heal people's hearts and collect the fragments - shaped like kompetio - in a jar so that she can obtain her as-yet undisclosed wish. Surviving on a mixture of luck and the grace of strangers, Kobato's mission introduces her to a medley of shrill voiced people, all with faces easily recognisable to those with even a passing familiarity with previous CLAMP works. Calling this a kids show would be redundant, but that it feels mildly derivative and frequently vacuous is surprising given the creators.
