LISTENERS – 01 (First Impressions) – The Day After the Music Died

In a world where “Players” pilot “Equipment” and fight “Earless” with music, Echo Rec lives in the sleepy town of Liverchester, which shuns all of that—or at least the grouchy Mayor does. That’s probably due to the massive crater of destruction left by Players ten years ago.

Echo is content to sift through the mountains of junk, looking for treasures he uses to build his own Equipment as a hobby. One day, he finds a sleeping young woman partially buried in the junk with an input jack in her lower back—the mark of a Player.

Echo takes her home—a bar called Oasis run by his big sister Swell—and after being yelled at by the mayor, he takes her upstairs. When he tells her he’s fascinated by her she momentarily thinks he’s coming on to her, but he’s actually geeking out about her status as a Player, even if she doesn’t remember that, or even her name.

When he tells her his dream of building an Equipment that a Player can use to fight the Earless, she wonders why he doesn’t just stand up and live that dream. But Echo doesn’t think that’s possible; for his young age, he’s an old soul and a pragmatic one who, dreams aside, has set limits for himself.

The girl is put off by his lack of ambition, and heads to the train station (where she spends all night outside?) while Echo falls asleep finishing his Equipment (which has the resting form of a VOX amp, prized by professional rockers). The next morning, the Earless attack—giant versions of the black shadow monsters of ICO—Echo races to the station.

The girl has already saved the Mayor’s life, then dives in to a pit of junk Echo trips and falls down. Rather than dying, she hooks the amp into her jack and it transforms into a somewhat retro mech. With the girl and Echo riding on its shoulders controlling it, the mech defeats all of the Earless.

Echo’s dream thus realized in record time, he gives the girl a name—Myuu—and the two jump on a train bound for more interesting places than quiet Liverchester, without any luggage or supplies. The giant “Monument of Admonition” topples, the Mayor somewhat awkwardly reiterates the themes of the show to no one in particular, and one of three sinister Player sisters declares that she’s “found” Myuu, setting up a Player clash next week.

LISTENERS has an interesting setting but a somewhat confusing premise: there’s no concept of music in this world? Like, at all? I’m not sure that was that clearly explained, or even accurately depicted. This wasn’t A Quiet Place territory where any sound would attract monsters. There was music playing on the TV-jukebox thingy at Oasis!

Stylistically speaking I kinda liked the clashing of Eureka Seven futurism with industrial north-of-England dinginess, but in both look and sound I’ll admit I found Echo a bit annoying while his and Myuu’s wardrobes were overly baggy. Dialogue is oftentimes overly hoaky, wholesome, or repetitive. The CGI…looked like CGI, competently rendered but lacking weight and inventiveness and pulling me out of the fantasy rather than in.

I’m also not what you’d call a music buff; it’s always been something in the background to either help me dance or work. I also gave up on Carole & Tuesday when I just couldn’t do it with the sappy English lyrics anymore. But unless I’m missing something, this first episode’s connection to music, and rock-in-roll in particular seemed…tenuous? It’s a good-looking (if a bit gray) and fun enough opening. I just wasn’t convinced I need Listeners in my life.

Eizouken ni wa Te wo Dasu na! – 02 – Tilting at the Greatest Windmills

Midori, Sayaka and Tsubame head to the faculty lounge, which is whimsically located inside a giant empty swimming pool, to make their case for an animation club. When one teacher says there’s already an anime club and that they should focus on live action, the group decides to simply say they’re starting a film club, and let the fruits of their labor redeem the white lie later. The spacey, heavily-bearded Fujimoto-sensei volunteers to be their adviser.

Their digs are essentially a two-level ramshackle storeroom built of cheap corrugated steel filled with holes that let the elements in. The place is filthy, but full of potential, at least when armed with the powerful imaginations of Midori and Tsubame, who conjure various furniture, luxuries, and equipment for creating anime.

Midori gets a bit carried away when proposing they add hinges to the roof to make it a hatch from which they can launch personal helicopters. While messing around the rusty railing gives way and she takes a one-story spill. The always-enterprising Sayaka captures the accident on camera and swiftly posts it online for sale in hopes of raising club funds.

Fujimoto later tells them the school will pay for repairs to the building, and to keep the video for themselves lest it go public and cause trouble for the school. Sayaka also makes a verbose federal case for the tightwad teacher to get him to allow them to do as they please. The trio then explores the storeroom’s underbelly and find a windmill connected to a generator. The storeroom is full of animation production equipment in decent shape.

Totally geeking out on their wheelhouse stuff, Midori and Tsubame explain the details of how one makes a series of drawings then films them to present the illusion of motion. They find a crude animation of the windmill and complete and improve upon it, adding visual flair, transforming their environment into a wondrous fantasy spectacle.

There are no accidents as a result of this flight (or rather cruise) of fancy, but that evening Sayaka gets a deposit of cash for her footage, and both Tsubame and Midori (and her family) catch footage of her fall on TV. Such a development threatens to torpedo their Eizouken dreams in their infancy, before they’re able to create a frame of finished work.

Obviously, their efforts aren’t about to be permanently shut down after just two episodes, but it will be interesting to see how they navigate the stormy waters of what I’ll inelegantly call Dealing With People Who Want To Hold Them Back. One thing’s for certain: independent those outside factors, they have the talent and means to do what they want. Now all they need is the freedom to do it.