Mobile Suit Gundam is the pinnacle of the mecha genre and has been astonishing fans for decades with classic after classic. Whether in the “Universal Century” canon or the numerous alt-universe spinoffs, Gundam has explored so many different possibilities and stories, all under the care of one studio: Sunrise.
It is surprising, then, just how long I went without having ever completed a full Gundam series. I remember watching Iron-Blooded Orphans on Toonami when it aired, but I didn’t get too far into it before moving on to other shows. To be honest, I’ve held off for so long because the Gundam series, as important as its reputation has made it out to be, has always appeared rather daunting.
Just as the Fate series can seem overwhelming from the outside, I was never sure where to start with Gundam. Thankfully, at the recommendation of some friends, I found myself falling in love with a comparably short but oh so deep entry to jumpstart what I’m sure will be a longtime fandom. From Kazuhiro Furahashi, the director of Dororo, Hunter x Hunter (1999), and Rurouni Kenshin, this is Mobile Suit Gundam: Unicorn.
The following are my first impressions of The Millionaire Detective that I wrote for Anime Quarterly back in July. If you like what you read and are interested in reading more by the AQ crew and me, be sure to bookmark AnimeQuarterly.com and make it your next frequent stop for anime news and reviews. Also, help us grow by supporting us on Patreon.
If you like the review and are interested in reading more by me and the rest of the AQ crew, be sure to bookmark AnimeQuarterly.com and make it your next frequent stop for anime news and reviews. Also, help us grow by supporting us on Patreon. Without further ado, here is my review of BNA.
Sometimes a show comes on your radar that just seems impossible to fail. There are just the right people attached to get you hyped by their pedigree alone and the prospect of a joining of those parties only makes you more excited. Unfortunately, hype is a gamble. No creator is perfect and no matter how good one work is, it doesn’t guarantee that the writer or director can’t fumble with another project.
Kouhei Kadono’s novel series from the late 90s, Boogiepop, is – according to fans I’ve talked to – one of the most influential light novel series out there. It paved the way for meta works like that of Nisio Isin’s Monogatari Series. It was a psychological, supernatural drama about otherworldly entities preying off of the anguish of humanity and the angel of death that released people from that anguish: Boogiepop.
In the west, the novel series and manga didn’t get official translation until the mid-2000s and even then it became mired by low sales and dropped. It wasn’t until 2019 that the fourth and fifth novels were finally released in English when a renewed interest in the series was stirred. A byproduct of this was last year’s animated adaptation.
Madhouse would be producing the new series. Back in 2000, the same studio made Boogiepop Phantom, an original story not based on a particular novel entry. Directing would be Shingo Natsume, famous for Space Dandy and One Punch Man, among other things. The music would be composed by Kensuke Ushio, whose aesthetic talents have captured hearts with A Silent Voice and Devilman Crybaby. Even Yoshiaki Kawajiri was credited for the storyboarding.
From the staff to the promotional PV (seen above), everything was promising. And then after 18 episodes, almost none of what was in the promo was in the final series. What I got ended up feeling like a fraction of what the universe of Boogiepop had to offer. Was there a silver lining or was Boogiepop and Others another adaptation to be forgotten.
No convention has been a greater boon to animation as a whole than the anthology. Granted, I love anthologies in most mediums. A collection of short stories from a slew of diverse, creative minds can expose audiences to all kinds of stories and genres they wouldn’t normally see or seek out themselves.
In terms of animated anthologies, works like Batman: Gotham Knight, The Animatrix or recent experiments like Love, Death, & Robots are perfect examples. They expand upon established works and introduce their own lore spanning myriad genres and subject matter, all while experimenting with myriad art styles.
The best part is that you can hook the audience with at least one story and they’ll surely be curious enough to see how the others fare. Maybe they don’t love all of them, but even one or two great stories can make the entire collection worth it, especially if the whole package is an hour and forty-five-minute film with three stories.
In 1995, Madhouse and Studio 4°C collaborated to create Memories, a collection of three short films based on short manga stories written by Katsuhiro Otomo, the man who created Akira. Since Otomo seems to always be involved in the animated adaptations of his work, he was the executive producer for Memories and even directed the third and final short himself.
Together with Darker Than Black director Tensai Okamura, Studio 4°C co-founder Koji Morimoto, and legendary director/writer Satoshi Kon, Memories was an ambitious fusion of three very different kinds of stories. If the objective was to make something that would stick in your mind, then they certainly picked a fitting title.
Here comes Matthew again, leaping to review another anime by Bones. I suppose that’s all I’m good for, isn’t it? And it’s directed by Masahiro Ando, no less…
Is Masahiro Ando my favorite anime director? He’s certainly up there with blokes like Takuya Igarashi. After all, Ando directed Snow White with the Red Hair, a show that I consider to be an empowering masterpiece of feel-good fantasy romance. Be it a drama or an action show, he is a talented director… though not without some missteps.
What I watched of Canaan never gripped me and reeked of a show whose potential was hurt by low-denominator tropes and poor writing. Under the Dog was an average pilot to a series that will never come out. And Sirius the Jaeger? More like Serious Disappointment (don’t hit me).
I would call Masahiro Ando the Brad Bird of anime. He makes some legendary stuff that will stick with you for ages, but he also tends to bat 50/50. It’s hard to tell why. Maybe it’s the source material on certain shows, maybe it’s other staff members, or maybe Ando is just inconsistent depending on the project.
I’ll cut through some of the snark and assure you of one thing, though. Blast of Tempest (or, Zetsuen no Tempest: The Civilization Blaster) is certainly on the good side of Ando’s batting average.
I’ve been blogging here since freshman year of college and in the time since, I’ve thought a lot about what comes after graduating. For a while there, I was so excited about how well this blog has done that I shelved that question when it was most important. Given current events, however, I had to kick it into high gear and think about my future.
So I’m sad to say that my review of Trigger’s new show, BNA, isn’t here…
Instead, it’s on another site that I am now a writer for
It’s the end of Pride Month and I’ve somehow managed to waste another one not talking about any gay anime. Mostly because my review of Given went up like a week before June, just missing the cutoff. Because I haven’t seen any other gay anime since then, I’ve no choice but to review the second gayest thing: Fate/Grand Order.
Depending on your priorities, or patience, or standards, Fate/Grand Order is either one of the coolest or stupidest things. The highly successful mobile game based on the world created by Kinoko Nasu and Type-Moon is a multi-arc saga almost as dense in itself as the Fate Universe is normally.
An overabundance of adaptations, spanning novels, visual novels, and comics is nothing new. Alternate universes, alternate timelines, slice-of-life comedies, cooking shows – Fate has something for everyone. Much like there is no definitive Ghost in the Shell, there is no definitive Fate (huh, it’s almost poetic when you phrase it that way).
I love the world Kinoko Nasu created. Just read my review of Lord El Melloi II’s Case Files and you can tell how much the universe resonates with me. On the flip side, I’m not the biggest fan of Grand Order. I think it lacks the substance that made other stories like Fate/Stay Night, Zero, or Garden of Sinners so incredible.
The short version: Grand Order, to me, feels like Fate trying to be Doctor Who or some other show about time travel. It indulges in some of the franchise’s less commendable habits all while feeling like a vehicle for fan service. And the biggest surprise… is that I didn’t hate this show.
There’s something about a detective story that just immediately brings up a story’s score for me. Maybe it’s my childhood obsession with Batman or my fondness for men in long coats, or that time a Columbo-looking motherfucker brought my sister and me back home after we walked a little too far from home as kids.
Any story willing to abandon even one ounce of its seriousness for the sake of introducing some grandiose “brilliant detective” immediately earns style points in my book. And this week’s review is of a show that never ceases to hype up the brilliance of its detectives to the point of shameless self-aggrandizement.
Id: Invaded is a sci-fi mystery show from the studio that brought you DRAMAtical Murder and that one Pharrell Williams music video It Girl… I can’t believe I’m privileged enough to get to type that sentence. Having come out at the start of the year, it’s one of several cool-looking shows that lulled us into thinking the year would be “pretty alright.” Getting around to watching it now, I think it’s safe to say I shouldn’t be too disappointed that I didn’t hop on the bandwagon earlier.
HBO Max is the newest and hottest service to make us ponder the costs and benefits of paying for another streaming subscription, and boy I am excited. Not because I plan on buying it myself for the foreseeable future, but because I know a lot of other people will and HBO Max just so happens to have a fair selection of anime.
I’m excited about HBO Max’s anime selection for the same reason people are excited about some of DC’s content being on HBO Max. In the case of DC, many are happy that some of the better DC content recently such as Doom Patrol will possibly get more attention now that it is on a service that stands to be more popular than DC’s service, DC Universe.
Of course, I say this right after DC up and took some of those very same films used to hype up HBO Max off of the service right after it launched. Let’s just pray the same doesn’t happen with HBO’s Crunchyroll library and therefore invalidates this entire post.
Despite that, I’m hoping that this smaller selection of shows will gain traction and popularity. In that same vein, I want to name just a few anime from HBO Max’s selection that I think should be your top priority. I’m only going to name shows that I have watched though, so don’t be mad if I don’t hype up Konosuba like everyone else in the world has.