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?
One of the earliest scenes in Liz and the Blue Bird depicted the protagonist, Mizore, waiting for someone at the school gate. One girl comes through the school gate, but Mizore is met with disappointment as it is not who she is waiting for. And then, the music swells from a scarce pluck of the string to a delightful melody, as the tapping of one girl’s steps is heard along the pavement.
But it’s not just any girl. It’s THE girl. Like a wind coming from the distance, Mizore and the audience know that someone important is coming before they even see her face. It’s as if hearing the quickening heartbeat of a shy young girl faced with her crush, translated into song.
I think I may have been a little too harsh on the first season of Darker Than Black. Sure, the story’s structure was a bit unusual, the stories themselves weren’t always that enjoyable and there was a conflicting tone that wasn’t well balanced, but it pulled through for me because the action and characters were very well done and the themes of the story, while open for interpretation, filled me with a sense of real satisfaction at the end of the series that I don’t often feel when analyzing a show. I ended my review of season one calling it average, but after watching season two I almost want to give the first season higher praise.
If you haven’t read my season one review, check it out here…
When we get sequels to popular Anime, the results can be mixed. You either get a sequel like Ghost in the Shell: Stand Alone Complex 2nd Gig or you get a sequel like Psycho Pass 2. The former expands upon the original’s premise and delivers an altogether superior product while the latter is a mess, plagued with new additions at the cost of what made the original so enjoyable. Sadly, Darker Than Black: Gemini of the Meteor is the latter rather than the former.