Rarely does a show come along that makes me rethink what I want from a story. Across any number of genres I’m interested in, there is an expectation of how the story will explore “drama. The numerous action shows I watch explore their drama through physical interchange, be it spectacular or grounded in realism.
Even adult dramas with a sparse number of action scenes will present other, more personal forms of violence as well as confrontation through dialog. Slice of life dramas or comedies may have lighter tones, but they may culminate in some dramatic climax where the tone changes.
This week, I’m exploring a show that approaches its story in a far more relaxed manner. It presents its political theater in a captivating way unlike any other show I’ve watched, and made me reassess how I look at what makes a drama “mature.” From director Shingo Natsume and Studio Madhouse, this is ACCA 13 – Territory Inspection Dept.
Bleach, despite the myriad criticisms I’ve heard leveled at it, has maintained a reputation akin to anime royalty. Even from the outside, it isn’t unfathomable as to why. The art direction and style is striking enough that I can’t say I’ve seen many shows that have mirrored the look of its characters. Additionally, the show’s lifespan on cartoon blocks like Toonami guaranteed it a legacy in the minds of a generation that stayed up way too late on a Saturday night to see the newest episodes.
2020 marks the 20th anniversary of the franchise and in celebration of that, the series seems to be getting a resurgence in more ways than one. Firstly, it was announced that the manga’s final arc would be adapted in a new anime project. Secondly, a new manga spinoff of Bleach would begin in the summer of this year. The spinoff had previously started as a one-shot back in 2018 but would now turn into a full series, with a short film meant to generate hype and interest. The series in question: Burn The Witch.
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.
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.