It’s funny to think that the very first work by Hideaki Anno I ever saw was Top wo Nerae! Gunbuster, or, Aim For the Top! Gunbuster and not Evangelion, what he is better known for. It’s even more surprising that I hadn’t even watched Eva fully until this past summer when it released on Netflix.
Gunbuster was Hideaki Anno’s directorial debut. A high-concept super-robot show that in many ways was the breeding ground for concepts and character dynamics that would later be fleshed out more in Evangelion. It’s looked back on as a classic of the ’80s.
16 years later, Kazuya Tsurumaki, the director famous for FLCL, made a sequel to Gunbuster, titled Top wo Nerae 2! Diebuster, which was different and I mean, very different. However, it was just as good as – if not arguably better than – its predecessor.
Unfortunately, its hard to find a physical copy of either that has both shows, each one six episodes long. For the longest time I wondered when either show would be released in their complete glory. After seeing a photo on twitter of someone’s Blu-ray collection, I realized they already both already had. The same Gainax 20th Anniversary line of which an Evangelion Blu-ray was part of had produced a Gunbuster/Diebuster OVA collection. Upon learning its existence I didn’t hesitate to buy it.
Oftentimes with sequels to classics, there is a lot of skepticism among fans. They can be divided over which is better, and yet, both shows are not only received well on their own but as a pair. They are often seen as equals that complement each other. It’s a rare occurrence indeed. The question becomes: How did two shows from radically different creators manage such a success? Furthermore, is one truly better than the other?
A harsh reality that became apparent deeper into my anime fandom was realizing that some shows become weirdly inaccessible through legal means. Obviously, piracy is a handy option when publishers don’t make them available, but I enjoy owning physical copies of shows I’m particularly fond of. Secondly, I find it strange when certain shows aren’t available available to purchase or stream at all, even when they are famous.
I get it when the niche shows I like go out of print, but universally loved classics being slept on is something else. After being out of print for years, the most recent being a pricey Blu-ray collection, Evangelion has made its streaming debut on Netflix. Since I’ve never actually finished the series, this release was the perfect time to finish what I started. But more importantly, it is a chance to ask what this series still offers viewers today and how it holds up.
I’ve discussed previously my disdain for the praise aimed at Trigger in its early days. The whole “savior of anime” meme got old quick with the industry growing larger than ever, and certainly not solely because of Trigger’s work. Funnily enough, as time has gone on, there are now a lot of people who seem to think Trigger is “stagnating,” but that’s kinda bullshit.
With their catalog having built up over the years, Trigger has only been getting more praiseworthy as time has gone on. Kiznaiver was one of the best looking shows of 2016, Gridman was one of my top five from last year, and I don’t think I stopped smiling the entire time I watched Space Patrol Luluco.
Now, director Hiroyuki Imaishi and screenwriter Kazuto Nakashima have reunited for a new project, this time a feature-length film. As I am in Japan currently, I took this rare opportunity to see the film in theaters. Because I am not fluent and didn’t pick up on everything, this is not a formal review, but I couldn’t resist taking the time to give my thoughts.
Okay, I’ll take full responsibility for this. I placed SSSS. Gridman in an unfortunate position, when I claimed it could be another misfire. Granted, after Darling in the Franxx, I had to be somewhat cautious, but I also acted like this had to be the new Evangelion. As far as I’m concerned, that is always going to be a setup for disappointment.
So now that the ridiculous standard I put it to has been set aside, the question remains: was SSSS. Gridman another misfire from Studio Trigger? Well, you likely read the title to this review so, probably not. But just how good is it?
After an incredible midseason finale, Darling in the Franxx kept going strong while taking things a bit slower to focus on the character drama. This part of the story has always been the most engaging throughout the entire program, and my hopes were high for the second cour of this fairly divisive show.
Sadly as it reached the conclusion, I became conflicted about the direction the show took. I waited patiently, knowing I wouldn’t have a solid grasp on my feeling towards the show until it was completed. Now that it is, I can safely say that Darling in the Franxx did not live up to the lofty promises that detractors would argue never bore fruit in the first place. Continue reading →
The spring Anime season is upon us and everyone is either watching Violet Evergarden now that it is on Netflix or the new season of My Hero Academia. Meanwhile, I’m over here still watching Darling in the Franxx, the collaboration between Trigger and A-1 that I covered a couple months ago. So before everyone forgets about it, I thought I would cover the show thus far and see how it has been shaping up as it enters the second half of its 24-episode run. Continue reading →