A review of episodes 3 & 4 of Ghost in the Shell: Arise
I was six when the Ghost in the Shell manga was first released, twelve when the Mamoru Oshii movie was originally released and fifteen when I saw it on Manga Entertainment’s first VHS release of it. Since then there has been second Oshii movie which, like its manga sequel by Masamune Shirow, many people would rather forget happened, and the almost universally well regarded Stand Alone Complex TV series, all fifty two episodes, two compilation movies and an original TV movie of it. That’s an awful lot of history for a franchise and is something that the last two releases of the latest entry, Arise, seem all too aware of.
Ghost Tears and Ghost Stands Alone, despite being initially released in theatres, are episodes rather than movies. At only fifty minutes each they have neither the time nor the isolation that movies do, and one would argue, that Ghost in the Shell as a concept needs. I said before that the first two entries, Ghost Pain and Ghost Whispers, held onto the ideas that run across the franchise:
“The layering of bureaucracy and machinations of governments and individuals in a world that is highly networked and ruthlessly mechanised, and ultimately facing new and increasing challenges because of it.”
That’s an awful lot to cram into only fifty minutes, and it has required some sacrifices that not everyone has taken to kindly.
A review of the first Sidonia no Kishi anime series
The first trailer that I saw for Sidonia no Kishi (Knights of Sidonia) was linked to by someone who was obviously very excited at the prospect of the series. For me, the trailer produced only indifference: giant robots, monsters, space; I’ve seen all of this before. Even the post-broadcast Netflix announcement trailer wouldn’t have convinced me, and I only saw that having watched the whole series. The core issue being that robots fighting in space is an easy sell but it’s not what makes Sidonia a special series. You can’t tout super-massive architecture, questioning the nature of humanity or glorious science-fiction as selling points in a minute and thirty seconds.
what humanity was before has ceded to pragmatism and necessity, to survive it must change and adapt
Many people have categorised the series as “hard” science-fiction which seems like a misuse of the term. Sidonia is very rich, but its use of laborious and detailed scientific explanations is extremely limited and most of the time non-existent - this isn’t Banner of the Stars. This is about a gargantuan colony “seed” ship, the titular Sidonia, floating through the cosmos defending itself against grotesque aggressors, the Gauna.
Of all the franchises that crave another series - Ghost in the Shell Standalone Complex, Stellvia of the Universe (well kind of), Moyashimon (wait...) - Eureka Seven was not one of them. The hugelyinfluential original series was Studio Bones firing on all cylinders. A tour de force of storytelling, boundless imagination, confident execution, and most critically a satisfying and conclusive ending. Say what you will about the pacing (soccer episode anyone?), it still stands as one of the best anime series ever made.
Eureka Seven Astral Ocean has a lot to live up to and does itself no favours by starting very similarly to Xam'd of the Lost Memories - an idyllic island community is attacked with terrifying force by an alien aggressor while an aged doctor tries to help. It's certainly a lot more coherent than Xam'd and has echoes Eureka Seven's original opening with the humanoid robot Nirvash careening into the Thurston's garage roof.
Spring 2012 is coming, attempting to wrap up Winter 2011.
Aquarion EVOL
This is not the Age of Aquarius. The first series of Aquarion was mediocre at best - surprising really given Yoko Kanno's duties on the soundtrack and the birth of what should have been a decent pop-star in the form of AKINO. EVOL comes after an ill-advised OVA and reboots the premise by retaining the giant robot consisting of separately piloted craft - think Getter Robo except with squeals of orgasmic delight from the female aviators - but amps up the ridiculous factor to eleven. The opening episodes are pleasing in how seriously the show doesn't take itself with a a male protagonist who floats on wings growing from his ankles when he has any naughty thoughts.
The adage of "always leave the audience wanting more" is becoming increasingly apt for Studio Bones. Like with Bounen no Xam'd before it, Un-Go's creativity and, most of all, possibilities make the run-time almost criminally short. Especially when the concept - a detective revealing the truth of disparate then intertwined mysteries - has enough meat to last twice the petite eleven episodes.
it deals with contemporary issues through a very old-fashioned character and plot
This isn't to say it's rushed. The bite-sized opening mysteries are but a taster for the underlying one which stretches the entire latter half; unfortunately the format doesn't lend itself well to brevity. All too often the audience has to take events on faith and ride the story out rather than attempt to unravel the intrigue for themselves. Evidence is often scattered conspicuously around however the question of what the mystery is, often eludes just as much as the answer.
