Shameful Otaku Secret!

And his name that sat upon him was Gonzo

During the Spring of this year, Gonzo’s initial online streaming experiment began with two series: Tower of Druaga and BLASSREITER. Both shows were featured not only on Crunchyroll and BOST TV, but YouTube as well for an unlimited time. Tower of Druaga was pretty well-liked, and its twist ending caused some interest in Gonzo’s new properties. Then, of course, Panty Witches was a raging success of the dumbest kind. So what about Blassreiter, arguably the most “Gonzo-like” of the series?

Well, it doesn’t immediately stand out the way either Strike Witches or Druaga did. The series tends to slip into Gonzo’s comfort zone pretty quickly, and as such exhibits a quite a few of their typical problems. But it’s not without merit either — in fact, at times it was really engaging.

Story

Without getting too much into it, since part of the fun is watching the story unfold, Blassreiter tells the story of a human augmentation project — somewhere between Twenty Faces’ cybernetic super-soldiers and Gendo’s Human Instrumentality — gone horribly awry. The augmented monsters, called Amalgams, start running all amok in Germany on their way to destroy and remake the entire world. Through it all, the only people with the balls to try and save the world are some glorified cops on motorcycles.

XAT uniforms require cleavage, regardless of gender. I found this to be pretty progressive on Gonzo’s part.

Characters

The series gets a few episodes in before you finally realize who it’s actually about, and it’s not so much racing hero Gerd Frenzen (which you might think through two or three episodes) as it is XAT cops Amanda and Hermann. By the final episode, they’ve become fantastic leads. Amanda is the strongest female I’ve seen in anime in a very long time. If you’re looking for her to break down and need a man at some point, take your moe elsewhere — she stays on point for 25 episodes.

And, she’s a pink-haired looker!

Animation

Notoriously, a lot of people (myself included) ditched this show from minute one when they saw just how bad Gonzo’s trademark CG had gotten. It was like a video game had invaded my anime. But two things happened: First, it got better. The CG fight scenes between the dextrous amalgams were fast-moving and creatively directed. And second, I watched a couple Speed Grapher episodes and saw to exactly what level Gonzo will stoop if they don’t feel like animating a vehicle using cels.

CG motorcycles it is, then.

I mean, motorcycles are cool, right? Right?

The Gonzo Factor

Gonzo tend to try really hard to make their “adult” shows seem very “adult.” That usually means gratuitous violence and ridiculously amped-up sexuality (lol bewbs), combined in a way that makes everything feel decidedly un-adult. Rather than upping the sex-and-violence quotient, Blassreiter’s crew opted to use hopelessness, despair, religious themes, and insane amounts of character death to create something you might actually find somewhat mature.

Themes

Blassreiter’s characters struggle most with trying to maintain their belief systems and their sense of right and wrong in a jacked-up world where most of their friends have been needlessly slaughtered (sometimes twice). A lot of the characters are Christian and question their religious beliefs, and Zwölf is a church-operated organization, but Christianity is a theme that remains mostly unexplored. Ultimately, the characters like Gerd who become Amalgams cling to any belief, even if they doubted it during life, just to try to remain human as their basest instincts start to take over their minds.

Bottom Line

Blassreiter was part of an experiment for Gonzo. They’re not doing all that well money-wise, but they dumped 2 million USD into Crunchyroll, so something apparently worked (probably Panty Witches, actually…). [Edit comes in the form of getting schooled in my comments section — that money came in April so it's actually part of what powered this whole thing.] Considering more Crunchy shows this season and the off-balance amount of Gonzo stuff in Funimation’s iTunes store, these guys are going to be anime’s first real fixture on the Internet, for better or worse. The good news is, you could do a whole lot worse than Blassreiter.

If you like your anime dark and full of action, but without the over-the-top indulgences in sex and violence that Gonzo can be guilty of at times, give it a shot. I think it’s their best “traditional Gonzo” series in a while. And even if you’re just curious, you can jaunt on down to YouTube and check it out for nothing, so why not?

Possibly misleading post title

This not strictly a review of Macross Frontier. There are going to be a lot of those on the web, of varying quality and opinions. And I’m guessing a lot of people are going to say they liked it, with some complaining about a botched ending or how Alto didn’t stick it in your favorite girl, blah blah. And they’ll be right about many of their complaints: the end was a copout and the love triangle was lukewarm at best. But after all the shipping, all the whining, and all the missile spam, what did Macross Frontier really do for the franchise? While thankfully some reviewers can look at Frontier as its own sci-fi series, if you’ve seen previous versions it’s harder to divorce any series from the overall Macross “experience,” the way you could with (for instance) a Gundam series.

First, let’s have a look at what other series and films have brought to the table.

• The Super Dimension Fortress Macross. The birth of Macross.
• Do You Remember Love? Established Kawamori as one of those artists who obsessively paints the same picture over and over — in this case, the chill-inducing juxtaposition of an incredible battle with a majestic song performance.
• Macross 7. Took the vague mystical concepts of Lynn Minmay and turned them into vague hard science. Also made Macross a bit silly and fun.
• Macross Plus. Set a higher standard for music and characterization, and opened up the possibility of a more mature Macross.
• Macross Zero. Gave fans real perspective on the Macross world, and a new view on Protoculture. In a way, Zero made Macross “real.”

Macross Frontier

Zero animator Satelight is back, and this time they’re out to turn all your characters into cyclops. The computer work is better, in fact it’s amazing. But the end result doesn’t smell as good as I’d like it to.

The contribution… What is it? In my mind, when I try to reach a conclusion about what Frontier means to the franchise, I come up short. Since it’s Macross, here’s a musical analogy: Frontier is less like a new album by a master songwriter and more like one of those awful tribute albums — or worse, a re-recording of old tunes by the original artist with none of the fire intact.

There’s no new Macross here, only more of the old Macross. More songs (which is a good thing), more singers to sing them, more space battle, more guy-who-looks-like-Global, and more more more references to past Macross.

The peppering of little smirks and nods to Macross lovers is a cool form of fanservice, and just as panty-shots of Mylene Jenius are a rare and notable thing, so should be those references, or they become less… nifty. Sorry, saying “special” in reference to Mylene’s panties seems totally wrong.

I like a captain who looks like Global, I like the dread inherent in a pineapple dessert, I like filming a movie about the events of Zero, but put them together along with all the other (often forced) wink-wink-nudge-nudge fanservice in this series, and two things happen: instead of creating something original, you’ve created a collection of references; and it only reminds me that all those shows you’ve referenced were better than this one.

Deja Vajra

Not only is Frontier determined to look toward the past, it’s basically made of past Macross spare parts. Take, for instance, Sheryl’s climactic performance on the battle stage, an enemy who is not actually your enemy in the end, or a fold engine for Valkyries that’s newly invented. What the flying fuck? How many times must we invent this thing? Gamlin used one in M7, Isamu used one in Plus, and suddenly Bilrer’s a flipping genius for making another one. Re-inventing the VF fold engine only served to iron out a story issue that should have been solved through quality writing.

The point is…

Perhaps I’m missing the point. Fanservice seems to form the basis of plenty of series these days anyway. Maybe Macross fans deserve to have a TV series that tells a very “Macrossian” story with a modern look, bright colors, and more songs than ever before. And I think I can get behind that idea.

The problem is, Kawamori and Satelight didn’t deliver. If the goal is to sum up the “Macross experience” in an all-encompassing story, then it deserved more consistent production values, a tighter story, and better characters (Ranka…). If the goal is simply a jumbled Super Dimensional antique store full of basic nostalgia, then I guess they did well.

Let’s just say it didn’t leave the best taste in my mouth, that way I’m justified in using this picture.

Shout it from the rooftops!

For now, that is pretty much all. I watched it with beer in hand — and I may have imagined this, but — I think my TV thanked me afterward. Then I had a steak dinner. Then I almost streaked naked through my apartment complex shouting about how Geass is over, it’s over, possibly with my hair on fire, but I realized that no one here has a goddam clue what a Geass is.

I’ll save most of my thoughts for one of the internet’s thousand billion review posts, but let me just say this: It ended much more respectably than I would have imagined, and I really don’t think the much-beloved Goro Taniguchi should quit anime forever.

Ding, dong, the pizza witch is dead! Figuratively speaking, of course, No spoilers.