Takt Op. Destiny – 01 (First Impressions) – Settling the Score

It’s 2047, and music is banned. If it’s ever played, fearsome alien monsters called D2 arrive and fuck shit up. So when young man sits at a lovely upright piano and bangs out some Beethoven, a D2 comes running…right in the middle of an unassuming town full of unassuming people. The D2 looks like it’s about to obliterate the pianist for sure…but he’s saved by a ridiculously strong young woman.

She is Colette, AKA Destiny, a Musicart, and he is Takt, her Conductor. Transforming into a Musical Magical Girl, Destiny easily defeats the mid-level D2. The brief but wonderfully precussive battle set to a more symphonic arrangement of Symphony No. 5 IV. Allegro is a feast for eye and ear. This is what happens when Madhouse and Mappa join forces.

Takt and Destiny were just passing by the town while on a long and interminable road trip to New York City, where their self-appointed leader Anna hopes they can have Destiny “tuned” to be more efficient in her fighting, as she always ends up exhausting Takt. Destiny loves eating, but also has to due to her extremely fast metabolism. Takt should train, but all he cares about is music.

Destiny is feeling particularly brash, and Takt is sufficiently beat and confident in her skills, that she goes off on her own while he and Anna wait in a remote highway diner (one wall of which Destiny destroys as she exits). She ultimately fails to eliminate the D2 in the area due to their boss being a particularly tough customer, as she regales to them with cute Panty & Stocking-style visuals.

Her mistake was going off without Takt, or rather Takt not accompanying her (neither of them listen to Anna’s directives, a fun running gag). But then Destiny rushes back to town with her super speed, picks up the piano with her super strength, and rushes it back to the abandoned factory where the boss lurks. There, her Conductor starts to play Moonlight Sonata, and it’s off to the races with a sakuga-fest of a boss battle that ends in a victory.

As a weapon, Destiny comes off like a piano: capable of great bluntness and great precision; capable of being extremely quiet or loud. More than anything, she’s only as good as the person making use of her. Takt is a brilliant musician, but has a lot to learn about Conducting. If they’re ever going to get to New York—much less save the world from the D2—they’re both going to have to step up their games.

Takt Op. Destiny is a crisp, bright disco ball of luscious anime goodness. Will every episode look this good? Who knows, but if you want to hook an audience right from the get-go, this is how you do it! Play it again, Takt.

The Promised Neverland – 23 (Fin) – Easy Win

“It’s an ending, that’s enough!”—Marge Simpson

I thought of those sage words—spoken to end a discussion of whether another ending was happy or sad—after the end of The Promised Neverland. This finale was, without a doubt, a series of scenes where dialogue is exchanged and things happen.

Like the previous episode, in which every single thing that needed to go Emma’s way did go Emma’s way, not a lot of it holds up to even cursory scrutiny. Unlike the previous episode, it wasn’t packed with enough stuff to keep my mind from dwelling on just how goshdarn fast things are moving.

And yet, it’s also an episode that tends to drag and sag during lengthy dialogue scenes. Starting the episode with Peter’s backstory, such as it is, was an…interesting choice? It really did nothing to make me care about him one way or another; I’m not surprised in the least he had his own brother Minerva killed, or that he rejected Emma’s call to join her in building a new world.

Ratri would rather slit his own throat (which he does) then even try to live in such a theoretical world; going out as a “Ratri”, descended from those who originally negotiated the great pact that split the human and demon worlds in two. Isabella and the mothers, who all seem to speak with one united voice, are also initially reluctant to go with Emma, who manages to convince her to change her mind. All is forgiven!

Now for the journey to the gate to the human world. Wait, the elevator takes them right there? And the pen, already literal deus ex machina, also happens to unlock the completely unguarded gate? Oh, and Emma, along with Norman, Ray, and the Lambdas, decide not to go through that gate? I commend the composer for accompanying the gate scene with suitably epic music, but other than that it’s just a lot; all at once, and all too easily.

The decision to remain while Don, Hilda, the mothers and the kids all go ahead to the human world is simple: Emma’s job won’t be done until all the farms are shut down. With Mujika’s help, she intends to create a new pact that won’t allow demons to raise children for meat anymore. So I guess Sonju was just joking when he was hoping to eat some free-range kids in the near future?

I was also a little worried when Emma and the others not going through the gate simply left them without checking out if it’s even safe on the other side. Those worries were short-lived, as beyond the white void is…modern-day New York City, immediately followed by an unanimated slideshow of the kids gradually assimilating to life in such a world. Judging from the stills, they don’t have much difficulty at all!

We then switch to a slideshow of Emma & Co. on their crusade that for all I thought would take the rest of their lives. I mean, you’re talking about rescuing each and every child currently imprisoned in the demon world. It’s a herculean effort many times larger than the already ridiculous operation that liberated Grace Field House in a single night with zero casualties.

But nope, it only takes a couple years or so. Emma, Norman, and Ray just suddenly appear by Hudson Bay one day, their mission apparently accomplished. Phil’s happy about it, because he doesn’t have to make good on his promise to go back after her. It’s all a little sudden, and random, and rushed, and weird. All my goodwill was spent mindlessly enjoying last week’s all-too-easy victories.

So it’s a totally, completely, 100% happy ending for Emma and the kids, who’d basically ceased enduring serious hardship or encountering setbacks of any kind after being forced out of their bunker hideout. But for me, it just feels like an ending, and a blessed one, as my enthusiasm for the direction of the story was waning by the day. An ending is enough.


Read Crow and Irina’s discussion on the final episode of The Promised Neverland right here!

Banana Fish – 02 – Nothing But Trouble

Ash seems like a do-things-for/by-himself kinda guy, so he goes after Skip and Eiji’s kidnappers all on his own…which is not smart. He’s captured immediately, unable to make a move lest the captors (Arthur and Marvin) kill either of their hostages.

While Ash may not possess the strongest strategic mind, he is able to outsmart Marvin, whom he convinces he’ll roll in the hay with but takes the guy down and steps over him. When he, Skip, and Eiji hit a dead end, Eiji reveals his hidden talent: he’s a pole-vaulter. LOL WUT.

He gets over what looks like a 14′-15′ wall, which is pretty good (the all-time record is 20′) but with no padding, Eiji is injured and eventually passes out in the street from blood loss. When he comes to, he gets word to the cops of Ash and Skip’s location, but Ash’s buddy Shorter and his friends make it there first.

In the ensuing fray between Dino’s guys and Ash’s, Marvin puts two bullets in lil’ Skip, and just like that, the kid I thought would be a mildy-annoying recurring sidekick is gone. A couple minutes later, at the end of a chase, so is Marvin—but not by Ash’s hands. He’s framed for murder by Dino’s many minions.

He’s wrapped in a neat-little murder package, what with the overwhelming motive of wanting to kill Marvin. A dirty cop owned by Dino happens to preside over the jurisdiction where Ash was arrested, and sees fit to play videos of porn involving Ash as a child (definitely not NYPD protocol), filling in the blanks of his past quite devastatingly concisely.

Ash knows he can plead innocence all he likes, but the bottom line is Dino has too many people in his pocket. Ash is refreshingly self-aware in his ineptness at staying on top of the game (even if he spent time there due to sheer will and charisma). Also, he fully admits even if he was framed and someone else killed Marvin, that person merely kept him from doing something he’d planned to do one day anyway.

Eiji is deployed by the cops in an attempt to get Ash to blab about Dino & Co., but Ash isn’t having it. He may hate his “dad’s” guts, but he still has his personal integrity to consider. Yet he doesn’t blame Eiji for being the transparent pawn he is; instead, he’s still goddamned impressed Eiji was able to vault himself over that huge wall!

Things continue to not go particularly swell at all for young Ash, as Dino gets a judge he’s friendly with to make Ash’s process as undue as possible, transferring him to a state prison where plenty of Dino’s men are waiting to kill him. (On the subject of men- unless I’m being grossly unobservant, I have yet to a single female character in these two episodes. I’m wondering if we’ll ever see one…)

The cops prepare to reach out to Max Lobo, the convict Eiji’s boss was planning to interview, who’s in the same slammer. I’m sure Ash would like to think he can take care of himself, but particularly in prison I hope he avails himself of any and all assistance offered him. In any case, dude’s an elite-level trouble magnet.

Banana Fish – 01 (First Impressions) – Look Young, Live Fast

Banana Fish is a manga dating back to 1985, which makes it, well, old. Yet it looks to be a story about one young man getting suddenly, violently mixed up in the very complicated life of an even younger man. We spend much of the first half following the first young man around, one Ash Lynx, who has a lot going on.

Leader of a powerful multi-ethnic street gang in NYC, the 17-year-old Ash is also apparently the heir (and former lover) of the mafia boss Dino. Ash takes care of his big brother Griffin, who has been helpless and only mutters “Banana Fish” ever since he fought in the war and suddenly…snapped.

Ash ends up encountering another man muttering the same thing, ends up with a vial of some kind of drug, and starts digging, suspecting Dino is up to something and also eager to cure his brother’s condition, if he can.

In the midst of all this comes the mild-mannered, babyfaced 19-year-old Okumura Eiji, who is immediately both impressed and terrified of the wild young rogue Ash. Eiji is merely an assistant for a photojournalist looking to do a story on the street gangs, and young Eiji may be the key to getting Ash to open up.

The two meet and barely spend an hour at one of the gang’s hideouts until a plan is put into place which had been simmering beneath the surface of events the entire episode, involving a member of Ash’s gang and one of Dino’s bodyguards betraying Ash. They use Eiji and Ash’s young friend Skip as bait to lure him to a seedy warehouse where they have awful things in store for him.

When we leave Eiji, he’s freaking out a bit, just trying to remind himself that he’s currently dealing with a reality about as different from his peaceful life back home as is possible, while Ash commandeers his friend Shorter’s red motorcycle to give chase, playing right into his betrayers’ hands.

One wonders why it took 33 years for this manga, apparently a classic example of BL with wide appeal, to become an anime. This first episode doesn’t answer that, but the source’s age does inform the retro character design, while the soundtrack is more contemporary. It also achieves what any good first episode does: leaves me wanting to find out what happens next.

THE REFLECTION – 02

This week’s THE REFLECTION didn’t so much move the plot forward as provide voices and context to the various players we saw in action last week. But I couldn’t help but wonder if most (or all) of the new information presented this week could have filled in all of the long pauses last week, adding pace and urgency to what was, if I’m generous, a slog.

Upon inspecting Red’s Baltimore apartment, X-On concludes that she’s stalking him. She wants him to teach her how to use her powers properly so she can use them for good like him, but he’s “not feeling it” and would rather she redirect her focus on someone else…say “Wraith.”

Meanwhile, after his little battle in New York Ian saves some suit fuel by hitching a ride on a jetliner’s wing before landing in his very Tony Stark-like Malibu beach mansion, where a team of men (rather than robots in Tony’s case) disassemble his suit to reveal a bearded old musician who had one big hit, “SKY SHOW”, in the 80s. The Reflection gave him a new life as a hero, a mantle he’s comfortable staying in the suit to nurture.

While the bad guys, seemingly led (or at least counseled) by a guy who looks just like Stan Lee, ponder their next move, eager to gather more ability users to their side, Red researches “Wraith” and notices something on the NYC camera footage (though the zoom-in-and-enhance only reveals a larger blurry black blob to us).

Then there’s that group of high school girls in Japan we saw in last week’s cold open. As their classmates talk about NYC, they prepare to decide on a name for their “group”, suggesting they have powers and are ready to work together to use them. It’s no coincidence that the ED consists of four Japanese girls in what looks like school uniforms singing and dancing.

But again, due to the questionable animation (gutsy in theory, lazy-looking in execution), and inefficient use of time, I’ll have to qualify last week’s “watchable” 7 with this week’s “niche appeal” 5, as this is certainly an acquired taste. Put together, THE REF is an underwhelming 6 so far…but I still want to know what happens next.

THE REFLECTION – 01 (First Impressions)

THE REFLECTION immediately sets itself apart from the rest of Summer with several distinct visual qualities: highly graphic animation, an understated, rather drab palette, no gradients, and a very thick black line work. Like the animation, the sound is sparse and atmospheric…until it’s not; in quick flashes of intense action, sound, and Henry Jackson/Alan Silvestri-style superhero music.

It is very much a superhero comic book brought to life on the screen with as little modification as possible. It’s as if there are beats and pauses where nothing happens, just as if you were lying on the floor, your eyes going from panel to panel. Only word bubbles are missing, though the vast swaths of LCD and LED panels visualize some sound effects, Batman-style.

It’s not quite explained what’s happening; things just kinda unfold, and I’m thankful for that. And it’s pretty easy to see what’s happening: people with powers, aligned on both the good and bad sides, are battling each other, causing a fair amount of collateral damage (though nothing like The Avengers).

The focus is on an Iron-Man like powersuit hero and a more ground-based red masked guy in a tight bodysuit with a big X emblazoned on his face, calling to mind Spider-Man, Daredevil, and Deadpool.  He’s able to absorb the powers of anyone he touches.

A photojournalist gets lots of nice shots of X-guy’s fight, but when she ends up caught by a bad guy, she uses her own pretty slick teleportation power to escape, thus not having to be saved.

After a lot of back-and-forth, both X-Guy and the Caped Robot Guy prevail in their battles, each using big loud, devastating finishing moves with authority. Robot Guy then reluctantly introduces himself as “I-Guy”, and is very stingy with answers, except that he probably won’t be able to save NYC every time, since he’s based in L.A.

All four bad guys are placed under arrest by suits and SWAT officers belonging to a S.H.I.E.L.D.-style organization “higher than the FBI”, but while in transit, all four are released by stronger bad guys, though one is apparently killed, presumably for failing. Those two bad guys meet atop one of the Chrysler Building’s chrome eagle gargoyles, adamant that things have only just begun.

Later, the photographer returns to her exposed brick apartment in BALTIMORE, MARYLAND (a very specific American city for an anime) and watches some video on her computer that serves as exposition: three years ago the mysterious “Reflection” incident gave many humans (like her) superpowers. Some went good, some went bad.

What no one knows is how or why. While we’re not sure Red has taken a side yet, and is content to document battles between “The Reflected”, it’s clear she’s not with the metal-manipulating woman or the flame-wreathed “Russian Ninja,” and she’s attracted the attention of someone who seems to be her favorite hero: X-On…who has followed her to BALTIMORE, MARYLAND.

THE REFLECTION is a bit of an odd duck. It features very straightforward heros-vs.-villains story, and a relatively straightforward introduction to the world and its various players, and the potential for some rip-roaring action. And yet it made the choice to eschew an overly flashy visual presentation for very sparse, elemental aesthetic, all thick lines and solid colors.

While perhaps not the prettiest or most precise, and even a bit sluggish at times, I enjoyed the show’s unique (for this Summer season) look and feel, and am interested to learn more about this Baltimorean woman and her role in all this.

P.S. Marvel’s Stan Lee himself announces the next episode. Whether he’ll do them all, or they’ll be done by a new famous comics world player each week, we will see. UPDATE: He’s involved in the production, so it’ll probably be him every week. 

P.S.S. MAL apparently HATES this show, with a dismal rating hovering just above 5. It’s a small sample (a little over 1,000 users) but still surprising to me.

Zettai Karen Children: The Unlimited – Hyoubu Kyousuke – 12 (Fin)

unlim12

Saotome plans to change the future in which espers revolt by using a hypnotized Yuugiri to assassinate New York’s new pro-esper mayor, starting riots and causing anti-esper sentiment to spread. Hyoubu penetrate’s Saotome’s elaborate lattice of illusions to get through to Yuugiri and break her hypnosis. His use of Unlimited causes his power to go out of control, but Andy and Yuugiri won’t abandon him: Andy uses his eye to stop the power overload. Hyoubu tracks down Saotome and erases his memories. Andy sets off on his own, but is made an honorary member of PANDRA.

If this is the end, it isn’t such a bad one.

Whoa, there, Hyoubu: we’ll be the judge of that! The finale ends in New York City, pretty much the last place you want ESP bombs like Yuugiri or Hyoubu going off, unless it’s your intent to cause mayhem. Saotome has clung to life just as Hyoubu has so that he can change the future he saw. He thought the survival of humanity required the subjugation of espers. Not surprisingly, his ethos loses out, thanks to Hyoubu’s persistence and Andy’s magic eye. Everyone else sits this out, with only token scenes of farewell, but the focus on Hyoubu, Saotomne, Andy and Yuugiri was as good a place as any to end things.

To its credit, this series doesn’t go longer than the twelve promised episodes, and manages to bring everything to a satisfying close. Hyoubu is ready to finally give in to the grim reaper, but his family stops him. He lives on to realize a future of equal rights for espers. One could say the doomsday Saotome warned is still in the cards, but screw that old man; his alternative future that curbs the freedom of an entire people wasn’t a future worth saving. Maybe a revolt has to happen if equality is ever going to be a reality.


Rating: 7 (Very Good)

Stray Observations:

  • The BABEL chaps arrive right at the nick of time to save Andy from getting arrested. Good timing, right? 
  • If the Children want to be treated more like adults, maybe they should stop sleeping in the same bed, eh?
  • We were surprised Kaoru didn’t really do anything here, but maybe they’ll make a spin-off show about the older her. Maybe!