There’s not even anyone called Brynhildr in Gokukoku no Brynhildr (Brynhildr in the Darkness), let alone being in the dark. It’s far from the only misleading thing about the series but it’s a good enough place to start. Unless you’ve seen Elfen Lied, in which case it’s probably worth stating that Brynhildr is by the same author and has the same kind of sadistic nonchalance towards human life but without the puppy killing or fascination with urination.
Anyway. Witches exist, except they’re technological rather than magical so they have an implant rather than a broomstick, and several have escaped imprisonment and now cluster around the interminably dense male lead, Ryouta Murakami. Stuff happens, breasts are exposed, stupidity is enacted, and witches die. And when they do they melt into a puddle of poorly censored goo. Oh what a world. What. A. World.
Where have all the young men gone? Sure there are the military men, barely old enough to hold a meaningful rank, but the Strike Witches 2 universe is entirely bereft of any young boys. Perhaps ages six through sixteen are spent in secret training to reduce the number of assaults due to the girls' complete lack of clothing below the waist. Or perhaps the Neuroi, the opaque alien aggressors, are an analogy of male puberty. Regardless, the opening three episodes of this second season start out much as the first and it isn't until the cringeworthy third episode that the uncomfortableness of watching young girls with no lower clothing on suffering through compromising situations sets in. The change of studio from the beleaguered GONZO to AIC Spirits hasn't changed the aesthetics, but it has reduced the crotch shots and increased the piercing light of censorship. Otherwise, for better or worse, the premise and execution are left entirely in tact.
a zero-sum series, each shred of development evaporates as soon as the characters visit a bath
After the events of the first season, the Neuroi were pushed out of Britannia and into Romagna, however as a communication channel was about to be opened with the now humanoid enemy, another force descended to Earth, consuming the all in their path. City after city is razed in this new offensive and entire squadrons of Strike Witches are decimated with the ferocity and volume of attacks. Yoshika meanwhile has graduated from school and is considering what to do next when word of an attack involving her comrade Lynne comes over the radio. The desire to protect her friends is too great, so it is that the 501st reforms to combat this renewed threat.
It's easier to think of Strike Witches more as unfulfilling pornography than a more traditional, coherent series; all the hallmarks are present: copious nudity, low camera angles, paper-thin plot, a cast reduced to caricatures, fake lesbianism and innumerable fetishes. It makes it more enjoyable to watch with this in mind as no longer can it be held to the same standards as other series - were that to happen one would likely not make it past the first five minutes of hackneyed, tedious plotting and be reduced to apoplectic cursing within ten. Instead, this is a brainless, fluffy, occasionally uncomfortable but mildly entertaining series that, like porn, walks the line between guilty pleasure and stupefying incredulity.
it echoes a studio desperate for a widespread hit - and what better way than firing as much ammunition as possible with the hope that some of it will hit?
Yoshika is a witch in her native country of Japan (Fuso in the series parlance). Her powers make her a perfect candidate for the Strike Witches, a group of young girls who use magic-enhancing machinery to fight against the Neuroi - enigmatic alien aggressors who have razed most of mainland Europe. Initially adverse to the idea, Yoshika's quest to find her father inevitably leads her into the force which consists of girls of various ages from all over the world from the British Lynette - a sharpshooter in training, to the German Erica - a fantastically talented but slovenly combatant, to the ghostly and clairvoyant Sanya. Yoshika's battle against the Neuroi may have only just begun, but she may be the key to turning the tide against them for good.
Please note: the remainder of this post contains images of nudity, if you are offended by these or are otherwise unable to view these images within your municipality due to laws or moral obligations, please do not proceed.
Claymore's hook is the presence of blonde, nubile young ladies with the titular, impossibly large swords set in a fantastical, medieval world. Being able to move past this premise is the first of many things that this series manages to do well, unfortunately it is marred by a plethora of other niggling problems which turn what could have been a great series into one that, overall, is lamentably mediocre.
Putting more than twenty slim, blonde females into a dark and snowy mountain town probably sounded a lot better on paper
Claymore goes wrong by being indecisive as to what it is trying to be and what it is trying to convey. The lithe girls with swords bait is more or less ignored from the outset with a surprising lack of fan-service and obvious lesbian undertones; this creates a problem with what is essentially a shounen series. The "monster of the week" cliché is dispatched with swiftly and a story unravels which thrusts the protagonist, Clare, from one hopeless battle to the next. Neither the story nor the characters are enough to carry this off, its one saving grace is the speed at which the story moves. Not so much adapted, but lifted straight from the manga, the series works on a "one episode, one chapter" progression which means otherwise tedious story elements and swiftly dealt with and otherwise enjoyable combat set-pieces drag on far too long.
