The Quatermass All-Purpose Media Review Thread

[Quatermass]

REVIEW: Fate/Grand Order: Absolute Demonic Front Babylonia Episode 0: Initium Iter, Episode 1: Absolute Demonic Front Babylonia, Episode 2: Fortress City Uruk and Episode 3: The King and His People by Kinoku Nasu

TYPE: TV series

DETAILS: FGOB0-3, 4X25 minute episodes


While the Fate/Grand Order game has courted some small controversy in some regards, there is no doubt that it has an engrossing story, and this was particularly true of two of the later chapters in its original story arc. This was doubtlessly due to Kinoku Nasu, the creator of the Nasuverse, being involved directly in the writing of these segments. So, when Japanese fans were polled to find which parts of the game they wanted adapted, it was hardly surprising that the Camelot and Babylonia chapters topped the polls. Now, I have finally come to watch the Babylonia adaptation, but would it fare well?

Some years ago, Dr Romani Archiman, a man with a mysterious past that is reaching out for him, joins the Chaldea Security Organisation, a top secret organisation that sends people into the past to correct changes to history. There, disturbed by the experiments involving an engineered young girl, who has been made a vessel for a Servant, a hero from the past, he becomes the girl’s caretaker, naming her Mash Kyrielight. Now, years later, Chaldea is the only bastion of humanity left after the King of Mages, Solomon, has engineered humanity’s destruction. Mash, and humanity’s last Master, Ritsuka Fujimaru, are sent over four and a half thousand years into the past, where demonic beasts threaten to snuff out civilisation as it began. And finding out who is friend or foe in this hostile landscape of ancient Mesopotamia can be a difficult task…

Now, while the prologue episode and the first episode proper does help in cluing people into what’s going on, I’m sure newcomers to the Nasuverse in general and Fate/Grand Order in particular will be at sea. Which is a crying shame, as this is actually quite a masterful adaptation of one of the finest storylines in the game. Interesting dialogue and characterisation, and some neat lines, mixing adventure, dark fantasy, and even some comedy.

Ritsuka Fujimaru is a bit of a bland and generic protagonist, but he’s at least given more characterisation than in the game, and Griffin Burns does well portraying him. Of better note is Erica Mendez as Mash, along with Xander Mobus as Dr Roman, the initial episode showing how their relationship, like that between a father and daughter, developed. Of particular note is Erika Harlacher, who has big shoes to fill to do as well as Maaya Sakamoto as a genderflipped Leonardo da Vinci, and does so well, as does Marianne Miller as Enkidu. David Vincent also gets to play a more heroic version of Gilgamesh than he does before, and the writing makes him comes across as less antagonistic as he does in the game, while Melissa Fahn makes a nice return as Ana, a younger version of the character she usually plays in the Nasuverse.

Production values are mostly superlative. True, the character designs, hangovers from the game, do leave something to be desired (particularly on Ana and Ushiwakamaru), especially with the rather perturbing emphasis on the rear-ends of a few of the female characters. However, the animation ranks amongst the best the Nasuverse has seen, and done by Cloverworks as opposed to Ufotable to boot.

Overall, these are impressive episodes for what is an adaptation of a video game. True, newcomers may be at sea, and there’s a few sticking points, but I’m certainly looking forward to the next episodes…

****½

 

[Quatermass]

REVIEW: Sword Art Online Episode 1: The World of Swords and Episode 2: Beater by Yukie Sugawara, Yukito Kizawa and Munemasa Nakamoto, from the light novels by Reki Kawahara

TYPE: TV series

DETAILS: SAO1-2, 2X25 minute episodes

So, here I am at the beginning of the anime adaptation of Sword Art Online, one of the definitive isekai series. I’d tried to get into the TV series before, but lost interest. Now that I’ve read the novels, would this interest be rekindled?

Sword Art Online: a brand new VRMMORPG using the revolutionary Nerve Gear device, allowing players to experience the ultimate in virtual reality technology. Former beta tester Kirito soon finds, though, that this game is about to be played in very deadly earnest. The creator of the game, Akihiko Kayaba, has trapped ten thousand players in a game that will kill them for real if they die in the game. Kirito sets out on his own to try and get stronger, but he will soon learn that loners and beta testers have large targets on their backs from other resentful players…

While there is admittedly not that much story in these first couple of episodes, they’re not too bad. True, the series does pale in comparison to other later series with not-dissimilar premises, but it’s still not bad, knitting together stories from books written years apart (or at least Kawahara’s notes on what would become the Progressive novels) to form a cohesive whole. In addition, the emotional moments seem to hit the right notes.

Bryce Papenbrook does well as Kirito, and so does Cherami Leigh as Asuna. The jury’s still out somewhat as Marc Diraison as Kayaba, who seemed a little too detached and flat, and while that seems normal for the psychopath he is, I was expecting something more. Then again, maybe it’s because I’m used to the more deranged take for the Abridged Series.

Where the series excels is in its production values. A-1 Pictures does some gorgeous animation, and it shows in the superlative fight scenes. True, there’s some bizarre animation in spots, but they work in context, so they don’t bother me.

While not as good as it could have been, these episodes of Sword Art Online are a decent introduction to the series. Here’s hoping it gets better…

***½

 

[Quatermass]

REVIEW: Fate/Grand Order: Absolute Demonic Front Babylonia Episode 4: Welcome to the Jungle, Episode 5: Gilgamesh’s Travels, and Episode 6: Tablet of Destinies by Kinoku Nasu

TYPE: TV series

DETAILS: FGOB4-6, 3X25 minute episodes

So, here I am with the next lot of episodes from Fate/Grand Order: Absolute Demonic Front Babylonia. This adaptation of one of the best chapters from the mobile game has been superlative thus far, but would this hold up? Time to find out…

Ritsuka and Mash have proved themselves through menial tasks to be invested enough in Uruk’s fate for Gilgamesh to start sending them on important errands. A trip to investigate Ur, a town that has gone silent, shows that the people have capitulated to a strange deity known as Jaguar Warrior. Forced to retreat despite their anguish, Ritsuka and Mash are given a new mission by Gilgamesh himself, to accompany him to an observatory to check the water supply, only for the false Enkidu to attack them. What is the real identity of the ersatz Enkidu? Who is the mysterious old man Ritsuka encounters during his travels? And what is the goal of the Three Goddess Alliance?

Now that the initial honeymoon phase of the series is gone, well, we get to the more episodic stuff of the story of this chapter of the game. This cuts down on the plot a bit, and while it’s still got some good parts, it’s had a marked reduction in quality. There’s some good character moments, though, with an expansion of what was seen in the game, and that’s always nice.

Interestingly, although still a touch on the bland side, Ritsuka’s character is expanded upon in these episodes, including his love for Ushiwakamaru’s legend, as well as his survivor’s guilt over previous events in the story of the game, with Griffin Burns doing a decent enough job. So too does Erica Mendez as Mash, David Vincent as Gilgamesh, Robbie Daymond as Merlin and Melissa Fahn as Ana. I have to say, though, as superlative a voice actor as he is, Crispin Freeman was miscast as Ziusudra, despite him taking on another role done in Japanese by Joji Nakata. The same can’t be said for Mela Lee as Ishtar and Ereshkigal, who, after her brief appearance in the previous episodes, does well as the spoiled goddess and her more serious counterpart, as is Julie Ann Taylor, who, as Jaguar Man (in the body of Taiga Fujimura), combines goofiness with an actual threat.

Once more, it’s the production values that shine forth. The animation is brilliant, with wonderful fight scenes done for each episode with spectacular effects and choreography. I should also point out the good job the composers have done in translating the in-game music into incidental music for the series.

Overall, while a step down from the initial episodes and certainly a little confusing to newcomers, these episodes are nonetheless superlative. I can’t wait for the next ones…


****

 

[Quatermass]

REVIEW: Berserk 2016 Episode 21: The Berserker Armour, Episode 22: A Journey Begins in Flames, Episode 23: Proclaimed Omens and Episode 24: City of Humans by Makoto Fukami and Takashi Yamashita, from the manga series by Kentaro Miura

TYPE: TV series

DETAILS: B161.21-1.24, 4X25 minute episodes

So, at long last, I have come to the last few episodes of the latest adaptation of Berserk. It’s been a while coming, but would this dark series end well? Let’s find out…

After beating back the troll infestation and Slan’s attempt at manifesting in reality, Guts and his motley group head back to Flora, only to find her domicile under assault by Apostles. Griffith has deemed her enough of a threat to destroy, and unfortunately, Guts is still wounded from his fight with Slan. Instructed by a dying Flora, Schierke gives Guts an enchanted armour, the Berserker Armour, that will give him a much-needed edge against the Apostles, but at a terrible cost. For even if Guts wins his battles against his foes, he may not win against the darkness inside him…

The story itself is good, but I feel like the pacing of this adaptation peters out, finishing the way it does at the beginning of a new story arc rather than at the end of one. It could have ended an episode earlier and have been all the better for it. However, for all that, there’s some great emotional moments and character development, and that makes it worthwhile.

Kaiji Tang, as stated before, does well as Guts, especially now he has the Berserker Armour to deal with. In addition, he helps begin to mentor Schierke in how to live her life. Indeed, Schierke herself gets the lion’s share of character development in these episodes, given how she loses her guardian Flora and has to cope with joining Guts permanently, and Mela Lee gives her performance her all.

The production values are good enough. True, the CGI animation takes some getting used to, and the sound mix for a number of the Beast of Darkness’ lines leave something to be desired. But it’s a brave experiment that, for me, works out.

Overall, these last few episodes of Berserk work out well. They could have been better, but what was put onscreen does fine enough, even if the odds of anything further are small…

****

 

[Quatermass]

REVIEW: Fate/Grand Order: Absolute Demonic Front Babylonia Episode 7: Diversionary Operation and Episode 8: The Mother of Demonic Beasts by Kinoku Nasu

TYPE: TV series

DETAILS: FGOB7-8, 2X25 minute episodes

So, here I am again with the anime adaptation of Fate/Grand Order: Absolute Demonic Front Babylonia. But how well would these episodes fare? Let’s find out…

Haunted by the vision of Solomon he saw while touching the Tablet of Destinies, Ritsuka has no time to waste, for he and Mash must set out for the wall keeping the demonic beasts from attacking Uruk. Accompanied by Merlin and Ana, they find the wall defended ably by Leonidas, Ushiwakamaru, and Benkei. But in an expedition to find out what happened to another fortress city, they will find themselves embroiled in a high-stakes battle to the death not only with Enkidu’s impostor, but also the entity claiming to be Tiamat. And even if she isn’t the real deal, she is most definitely their greatest foe so far…

Story-wise, there isn’t much meat here. True, there’s some intriguing revelations about Fou, and there’s some exciting battles and some meditations on the nature of the more inhuman characters like Merlin and ‘Ana’, to say nothing of some rather poignant ends of some characters. But it’s not quite that thrilling.

Aside from the regulars, Robbie Daymond as Merlin gets to show some more of Merlin’s whimsical nature, as well as his remarks on his own inhumanity. Melissa Fahn is good as both Ana and Gorgon, showing the former’s doubts and humanity, and the latter’s haughty lack thereof. Ray Chase and Laura Landa get to do well as Leonidas and Ushiwakamaru for their respective swansongs, even if the latter will be seen later.

Where the series shines, as usual, is in the production values. We get a lot of great battle sequences, such as Ana facing a vicious demonic beast, as well as Ushiwakamaru’s battles against Gorgon. The final clash in particular, showing Ushiwakamaru using her Noble Phantasm Legend of Shana-Oh: Eight Boat Leap, is a brilliant setpiece of animation and choreography.

These two episodes, while not exactly the best story-wise, nonetheless manage to deliver in the excitement stakes. Here’s hoping for more…

****

 

[Quatermass]

REVIEW: Berserk: The Golden Age Arc 3- The Advent by Ichiro Okouchi, from the manga by Kentaro Miura

TYPE: Movie

DETAILS: 115 mins

Having finished both television anime adaptations of Berserk, the time had come for me to finish the movie trilogy. The Golden Age films adapted what was considered to be the best arc of the series. But how well would it do, especially with the traumatic events of the Eclipse about to happen?

A year has passed since Guts left the Band of the Hawk. Declared outlaws by the King of Midland, the Band of the Hawk contend with death from their former allies on a regular basis, while their fallen leader, Griffith, has been reduced to a shell of his former self thanks to frequent torture and mutilation. Guts returns to the Band of the Hawk, and after reconciling with Casca, receives an ominous warning from a mysterious knight in skeletal armour, a warning that will come to pass. For there are omens of a dark time coming, and when the Eclipse arrives, Griffith will be offered a demonic deal, one which he may take in his desperate state…

As I have brought up before, Berserk is most definitely not for the faint of heart. In fact, this instalment, dealing as it does with the Eclipse, rams that fact home, with plenty of gore and horror, and there’s a certain event during the Eclipse that I felt was…shown the wrong way, especially compared to the earlier TV anime adaptation. Still, many of the emotional moments hit more than miss, and while heavily abridged and missing some moments that could have made things better, it still has some good parts.

Marc Diraison proves that he is still an excellent Guts, while Carrie Keranen does well as Casca. Kevin T Collins also shows he is the definitive Griffith, one of the recast roles for the later TV adaptation that I felt was a bad one. John Avner, Simone Montgomery, Liam O’Brien and Sean Schemmel do pretty well as the Godhand, oozing malevolence for this brilliant film.

It seems that, despite some misgivings with the CGI, the production values in this instalment are superlative. Given the importance of the events in the Eclipse, it seems that they particularly wanted to devote time to a new version of that pivotal event in Berserk. True, I found some choices questionable, including both the music and direction around a certain disturbing scene, but otherwise, it was fairly good.

Overall, while certainly not for everyone and lingering perhaps too long on the gore and transgressive themes, this movie of Berserk, if it doesn’t disgust you outright, serves as a fitting end to the Golden Age arc…


***½

 

[Quatermass]

REVIEW: Fate/Grand Order: Absolute Demonic Front Babylonia Episode 9: Good Morning, Goddess of Venus, Episode 10: Hello, Goddess of the Sun, Episode 11: Temple of the Sun, Episode 12: Death of the King and Episode 13: Farewell, Goddess of the Underworld by Kinoku Nasu

TYPE: TV series

DETAILS: FGOB9-13, 5X25 minute episodes

So, here I am with the next lot of episodes of Fate/Grand Order: Absolute Demonic Front Babylonia. But how well would this quintet of episodes fare? Let’s find out…

After the attack of Gorgon and Kingu on the wall, King Gilgamesh assigns Ritsuka and his allies to a new plan: suborning Gorgon’s rival deities to their side. Bribing Ishtar proves to be easy enough, and so too does winning over the second deity, the cheerful Quetzalcoatl. But they will soon learn that Ishtar is not a member of the Three Goddess Alliance: her sister, Ereshkigal, ruler of the Babylonian underworld Kur, is. And Gilgamesh falls victim to Ereshkigal’s schemes. But is Ereshkigal truly malicious? Or is there more to her actions than meet the eye?

Now we’re getting into some more meaty parts of the story. There’s considerable meditation on the roles deities serve in the human psyche, and there’s some wonderful moments of humour, drama and pathos. True, people not familiar with the game may still be at sea a little, but there’s many wonderful moments from the game brought to life vividly.

Griffin Burns as Ritsuka and Erica Mendez as Mash do well as usual, with the former showing some more complexity to his character than in the game. Mela Lee pulls double duty not only as Ishtar, but also as Ereshkigal for some rather emotionally powerful scenes. And new character Quetzalcoatl is not only one of the most enjoyable so far, but her dub actress, Gloria Garayua, is perfect for the role, giving the deity her energy and enthusiasm, while giving her menace at the right times.

Production values are, as before, superlative. There’s a number of brilliant fight scenes, with the clashes with Quetzalcoatl and Ereshkigal deserving particular praise. Really, what else can I say?

Overall, these episodes of Fate/Grand Order: Absolute Demonic Front Babylonia were brilliant, keeping a high standard. Here’s hoping those standards don’t decline…


*****

 

[Quatermass]

REVIEW: The Lord El-Melloi II Case Files Episode 0: A Gravekeeper, A Cat, and A Mage, Episode 1: Babylon, the Condemned, and the Memories of the King, Episode 2: The Seven Stars and the Eternal Cage and Episode 3: Thunder and the Underground Labyrinth by Ukyo Kodachi, from the light novels by Makoto Sanda

TYPE: TV series

DETAILS: LEMCF0-3, 4X25 minute episodes

Not all of the Nasuverse involves historical and mythical figures battling it out. I had heard of the fantasy mystery series The Lord El-Melloi II Case Files, starring Waver Velvet, a key character from Fate/Zero, as the titular Lord El-Melloi II. But how would this different angle on events in the Nasuverse go? I would find out with the subbed version…

Soon after the Fourth Holy Grail War that claimed the life of his teacher, as well as that of his Servant, Iskandar, Waver Velvet assumes regency over the El-Melloi lordship as Lord El-Melloi II. A decade later, Waver has become a successful teacher at the Magus Association headquarters Clock Tower, taking in all sorts of misfits, including the ditzy Flat Escardos, the Beast Magecraft-using Svin Glascheit, and Gray, a young girl who was intended to become the vessel for the soul of Arturia Pendragon. Inbetween navigating the toxic politics of Clock Tower and helping his misfit students, Waver investigates mysteries involving Magi, showing how the world of magic can be a dangerous one indeed…

Although some knowledge of the Nasuverse and Fate/Zero might be needed to fully appreciate this series, it’s not necessary, thankfully. True, this isn’t so much an overarching story yet, with basically a mystery per episode solved by magical means, but it’s got plenty of interesting characters and character moments. We even have moments of humour.

It’s a shame the dub isn’t yet available on AnimeLab, having only been recently announced, but even the Japanese original is good. We get considerable insight into the post-Fate/Zero psyche of Waver Velvet, with Daisuke Namikawa showing his ability to switch between Waver’s more immature tones as he was in Fate/Zero, and his more mature tones as Lord El-Melloi II. Reina Ueda is a delight as Arturia’s doppelganger Gray, while Inori Minase has fun as the impish and sadistic Reines El-Melloi Archisorte.

The production values are pretty damn good. While not quite as spectacular as Ufotable, A-1 Pictures or Cloverworks’ work on other Nasuverse series, Troyca does do a good job for the series at hand, giving the character moments some needed cinematography. Plus, the opening theme, a change from the usual J-Pop songs that infest anime openings, is an intriguing orchestral piece that helps set the tone for the series.

Overall, while lacking in plot, these first four episodes of The Lord El-Melloi Case Files were enjoyable, with plenty of interesting character moments and an expansion of the lore of the Nasuverse. Here’s hoping for more of that…


****

 

[Quatermass]

REVIEW: Fate/Grand Order: Absolute Demonic Front Babylonia Episode 14: Decisive Battle, Episode 15: The New Humanity, Episode 16: Awakening and Episode 17: The Congress Dances by Kinoku Nasu

TYPE: TV series

DETAILS: FGOB14-17, 4X25 minute episodes

So, here comes the next four episodes of Fate Grand Order: Absolute Demonic Front Babylonia. These four episodes will prove decisive. But will they be good? Well, let’s find out…

An assault is launched on Gorgon’s stronghold, the Blood Fort, where Ana reveals her identity as a younger Medusa, before sacrificing herself to stop her older self. But her sacrifice proves to be for nothing, for Kingu is revealed to be the holder of the Grail keeping this Singularity in place, and Gorgon’s death has reawakened the real Tiamat, putting Merlin out of commission. What’s more, Tiamat is a Beast of Calamity, one of the greatest evils humanity has to face, and she has an army of monsters at her command, the Lahmu. As Kingu is betrayed by the mother he aided, it becomes a race against time to stop Tiamat from taking the Grail, and using her Lahmu and the Chaos Tide she exudes to wipe out Mesopotamia…

Hoo boy, what a trip. We’re moving quickly towards the endgame of the series, and it’s an exciting ride. There’s quite some sad moments, and plenty of shocking moments too, with the emergence of the Lahmu and Tiamat’s true form. And, of course, there’s some excellent character moments.

In these episodes, Melissa Fahn does well, pulling triple duty as two incarnations of Medusa, as well as Tiamat’s singing, substituting for Aoi Yuuki for the latter. Marianne Miller and Lauren Landa get some emotive moments as Kingu and Siduri respectively, while Gloria Garayua shows her chops as Quetzalcoatl in more serious moments. Plus, Mela Lee as Ishtar and Ereshkigal and David Vincent as Gilgamesh do well.

Once more, the production values are superlative. The fight between Ana and Gorgon is intense, while Ishtar’s use of her An Gal Ta Kigal Se attack is one of the most spectacular uses of a Noble Phantasm in the entire franchise, and Tiamat’s full emergence soon afterwards is a scarily effective use of CGI. And that’s without going into the eerie and horrific animations of the Lahmu.

Overall, these episodes were a brilliant continuation of the series. Time will tell if the finale is anywhere near as good…

*****

 

[Quatermass]

REVIEW: The Lord El-Melloi II Case Files Episode 4: A Workshop, a Grave, and a Necromancer, Episode 5: The Lance that Shines to the End of the World and the Fairy Eyes, and Episode 6: A Girl, a Department Store, and a Gift by Ukyo Kodachi, from the light novels by Makoto Sanda

TYPE: TV series

DETAILS: LEMCF4-6, 3X25 minute episodes

So, here I am again with another lot of episodes from The Lord El-Melloi II Case Files. But how will this lot fare? Let’s find out…

Waver is agonising over the possibility of missing out on the Holy Grail War, but there’s no time for him to mourn lost chances. He accepts a job that might lead to him participating, but to do so, he must investigate the mysterious lightning deaths at the Marburry Workshop. The case seems open and shut, with another investigator, Policies hatchetwoman Hishiri Adashino, set on naming Wills Pelham Codrington, heir to the creator of the Marburry Workshop, as the culprit. But Waver isn’t convinced, and helped by necromancer Kairi Sisigou and Gray, will discern the truth. Later, Gray will go, thanks to the connivance of Reines, on that most terrifying of adventures: shopping in a department store. An intimidating experience for the shy Gray, but when the department store’s magecraft goes awry, she, Reines, and Luvia Edelfelt will need to find their own way out…

Once more, we have some good storylines, knitted together by the story arc of Waver’s fixation on the Holy Grail War. They’re enjoyable enough stories, though not truly great. The first two episodes were good, but in some regards, they were a repeat of one of the previous episodes, just with enough material to fill two out. And the department store misadventure doesn’t feel quite right, being there more for Gray’s sake than advancing the plot. Still, there is the sign of more to come at the end of the episode, when Waver’s prized relic is stolen and he has to head to the Rail Zeppelin mentioned previously in the series.

Daisuke Namikawa is, of course, great as Lord El-Melloi, showcasing his more calmer qualities. Reina Ueda does well as Gray, with much of the story revealing more aspects of her character, and we have Inori Minase doing double duty as the impish Reines and her mercury maid, Trimmau. Plus, we have a welcome return of Kenji Nomura as Kairi Shishigou from Fate/Apocrypha, as well as an interesting new character in the sardonic Magus investigator Adashino, played by Yuuko Minaguchi.

The production values, meanwhile, are quite good. Not quite as good as other Nasuverse works, true, but they do well. One of the best examples is the battle between the various Magi and the Black Dogs, culminating in Gray firing off Rhongomyniad for the first time in the series, a spectacular if somewhat brief bit of animation.

Overall, while not actually an improvement on prior episodes, they were an enjoyable continuation of the series. Here’s hoping that with the actual story arc beginning, things will pick up…

****

 

[Quatermass]

REVIEW: Fate/Grand Order: Absolute Demonic Front Babylonia Episode 18: Primordial Star, Gazing Towards the Sky, Episode 19: Absolute Demonic Front Mesopotamia I, Episode 20: Absolute Demonic Front Mesopotamia II and Episode 21: Grand Order by Kinoku Nasu

TYPE: TV series

DETAILS: FGOB18-21, 4X25 minute episodes

Now, here I am at the final quartet of episodes of Fate/Grand Order: Absolute Demonic Front Babylonia. I delayed watching the series until I was sure the dub was finished, though COVID delayed that. But how would I find the finale?

After a brief respite, Ritsuka, Mash, and their friends and allies set out to stop Tiamat’s advance for once and for all. But despite everything they can throw at the Beast of Calamity, she seems utterly invincible, overcoming each challenge in her path. Can the forces fighting for the future of humanity prevail against an entity who cannot die as long as life exists?

Well, these last four episodes were a trip. It’s great to see key and iconic moments from the latter part of the chapter in the game get translated to an anime series, with considerable expansion. One of the highlights was in the penultimate episode, where Ritsuka and Tiamat’s consciousness have a conversation, something that wasn’t in the game, but nonetheless revealed what was heavily implied in the game. It was a scene that was quite bittersweet, and fitting in tone with the rest of the series, though it’s rather annoying that the series ends on a cliffhanger, which may or may not be resolved with a movie or OVA.

Most of the cast are superlative. Griffin Burns and Erica Mendez bring Ritsuka and Mash to life, with Mela Lee as Ishtar and Ereshkigal, David Vincent as Gilgamesh, and Robbie Daymond as Merlin doing well. I expected something a little more ethereal for Melissa Fahn as Tiamat during her one scene of spoken dialogue, but her delivery nonetheless tugs the heartstrings all the same. The one bum note is, as mentioned before, the otherwise excellent Crispin Freeman, being somewhat miscast as King Hassan, aka Ziusudra.

Most of the production values are excellent, with the fight animations being exciting. I have to tip my hat to the dub producers, for the most part, as many of these episodes were produced during the COVID trouble. But I do have a nitpick in that King Hassan’s voice isn’t given much treatment in the dub, compared to the Japanese version, which I felt gave it more.

Still, the faults were minor. This was a great end to a great series. Here’s hoping the coming adaptations are as good, if not better…


****½

 

[Quatermass]

REVIEW: Attack on Titan Episode 1: To You, In 2000 Years: The Fall of Shinganshina Part 1, Episode 2: That Day: The Fall of Shinganshina Part 2, Episode 3: A Dim Light Amid Despair: Humanity’s Comeback Part 1 and Episode 4: The Night of the Closing Ceremony: Humanity’s Comeback Part 2 by Yasuko Kobayashi and Hiroshi Seko

TYPE: TV series

DETAILS: AOT1.1-1.4, 4X25 minute episodes

Having read the first few volumes of the Attack on Titan manga, I decided to give the anime series a go. But how well would I find it? Let’s find out…

Over a century since Titans first attacked humanity, the last remaining people have been content to hide behind massive walls. But their safety is an illusion, something young Eren Jaeger realises long before a massive Titan, larger and more intelligent than any who have gone before, breaches the outermost wall. Witnessing the death of his mother, Eren makes a dark and solemn vow, one which will see him enter the military, alongside Mikasa Ackerman and Armin Arlert…

Story-wise, there’s already more than a few improvements made to it compared to the manga. While the cliches of military fiction are still annoyingly present, they’re not quite as noticeable, and certainly more tolerable, and the pacing is a little improved in some areas. In others, not so much. But overall, this adaptation feels more like a polished version of the original manga.

Eren is played very well by Bryce Papenbrook, whom I knew as Shirou from the later Fate/Stay Night dubs and Kirito from Sword Art Online. Trina Nishamura and Josh Grelle are also fine as Mikasa and Armin respectively. The other roles are fairly well-done, though there aren’t really many stand-out roles, and the adaptation does allow for us to be more invested in the characters by showing them prior to the Trost attack.

The production values are mostly good, with Wit Studio showing their mettle. The art style does take getting used to, though it is a marked improvement on the more sketch-like art of the manga, and makes the horror of the Titans all the more real. I do get a bit annoyed with the still pictures used for some sequences, not for artistic reasons but possibly for budgetary ones, which is irritating, but what can you do?

Overall, these first episodes of Attack on Titan, while somewhat flawed in some areas, is a somewhat more polished version of the manga. Here’s hoping the next lot of episodes are as good, if not better…


****

 

[Quatermass]

REVIEW: Arifureta: From Commonplace to the World’s Strongest Episode 1: The Monster of the Abyss and Episode 2: Pandora’s Box by Shoichi Sato and Kinji Yoshimoto, from the light novels by Ryo Shirakome

TYPE: TV series

DETAILS: AFCTWS1-2, 2X25 minute episodes

Having read the original Arifureta novel, I felt somewhat ambivalent about watching the anime. Aside from a story that had excellent worldbuilding ruined by a few dubious elements, there was apparently some concern between the original author of the books and the creators of the anime series. But would this prove not to be the case?

Deep in a labyrinth, Japanese schoolboy Hajime Nagumo has been stranded, having to fend of powerful monsters. He and his classmates were abducted to this world to fight for a kingdom, only for Nagumo to be betrayed by one of his allies. What was once an adventure has become a struggle to survive, and Nagumo intends to win that struggle, no matter what the cost to anyone, including himself…

On watching the first couple of episodes of the series, I do have to agree that one of the biggest problems with this series is the adaptation of the story. A lot of the worldbuilding is stripped out, as is the backstory of Nagumo and his classmates. In the end, these first two episodes are more about action set-pieces and flashbacks rather than any character development, and while they are enjoyable and hit the right marks for what it shows, it could have been better.

A key case in point is that of Nagumo, whose character is the focus of these episodes. While Matt Shipman does an excellent job, we don’t see Nagumo’s life prior to ending up in the Labyrinth, save for bits and bobs, and so any emotional investment and sympathy we have towards him is admittedly limited, making him seem more sadistic and deranged than the intense, focused and amoral character he becomes. This doesn’t make him bad per se, it’s just different to how he’s portrayed in the novels, and cheapens his character from the novels, though he is still a compelling character to watch. Tia Ballard is good in her initial appearance as Yue, as is Patrick Seitz as Meld.

Animation-wise, it’s actually quite good. Not as brilliant as some of the stuff done for other shows, and at times, it looks cheap by modern standards, but overall, it actually does bring the world of the book to life. Certainly the direction works well in certain scenes, such as Yue’s freeing, or a few of the battles.

Overall, while nowhere near a disaster, the first couple of episodes of Arifureta were a considerable disappointment. A shame, really, as I felt it had potential…

***

 

[Quatermass]

REVIEW: Attack on Titan Episode 5: First Battle: The Struggle for Trost Part 1, Episode 6: The World That Girl Saw: The Struggle for Trost Part 2, Episode 7: Small Blade: The Struggle for Trost Part 3 and Episode 8: I Can Hear His Heartbeat: The Struggle for Trost Part 4 by Noboru Takagi and Hiroshi Seko

TYPE: TV series


DETAILS: AOT1.5-1.8, 4X25 minute episodes

So, here I am, reviewing the next lot of Attack on Titan episodes. But would I enjoy this adaptation of the anime? Let’s find out…

Eren’s moment of vengeance seems at hand when the Colossal Titan appears once more, but it disappears without a trace once it breaches the wall. And during the ensuing battle, Eren is swallowed by a Titan while trying to save his friend Armin. Both Armin and Mikasa are badly affected by Eren’s apparent demise, but in the midst of despair comes an unlikely hope: a Titan that ignores humans and attacks its own kind…

So, plotwise, there isn’t much actual plot, just a bunch of action scenes with some character moments and a lot of military fiction clichés. It still does well, and even adds a few scenes that I am sure weren’t in the original manga, and the tension and emotion feels, if anything, more intense than in the original manga. But there was something lacking to them.

Character moments were done very well. I am pleased at how much Mikasa’s character was improved, at least to my reckoning, in the anime, and Trina Nishamura gives her wells of hidden emotion behind her stoic façade. Josh Grelle also does well as Armin, with Armin going to pieces requiring not just ham, but real emotion.

Production values are mostly good, though the final episode of the arc has some moments where they don’t animate the action, and even have moments where they go from animation to still pictures at odd times, suggesting a lack of budget. Still, many of the scenes where the soldiers use their OMDs are spectacularly-animated, with the CGI backgrounds working very well, and the Titan animations being eerie and within the uncanny valley. In addition, the Attack Titan’s roar is eerie itself, being higher-pitched than one would think, and yet, it’s oddly suiting for the feral beast.

Overall, these episodes of Attack on Titan were good. Not as great as they could have been, but still, they were enjoyable…


****

 

[Quatermass]

REVIEW: Mortal Kombat by Greg Russo and Dave Callahan, from a story by Greg Russo and Oren Uziel.

TYPE: Movie

DETAILS: 110 mins

Mortal Kombat was very much part of the pop cultural zeitgeist when I was growing up, even if my experience with the infamously violent games was minimal. I do have fond memories of the cheesy but entertaining movie adaptation. I decided, on a whim, to give this darker reboot a go. But would it repulse me?

In the 17th Century, Hanzo Hasashi, a warrior of the Shirai Ryu shinobi clan, is murdered along with his family by Bi-Han, leader of the rival Lin Kuei clan. Only Hasashi’s daughter survives. Over four centuries later, struggling MMA fighter Cole Young, haunted by visions of Hasashi wreathed in hellfire, is targeted by Bi-Han on behalf of the sorcerer Shang Tsung. He soon learns that he is a chosen warrior for the upcoming Mortal Kombat tournament, with Shang Tsung targeting Earth’s champions for assassination so the tournament is all but won. With Special Forces operative Sonya Blade and crass criminal Kano, Cole travels to the temple of Raiden, unsure whether he can fulfil his destiny…

Let’s face it, the story is nothing truly spectacular, being a somewhat by the numbers plot. This isn’t to say it’s particularly bad, but it’s pretty much an excuse for violent action sequences, though thankfully, those aren’t as gratuitously violent as I had feared, given the source material and the rating. Indeed, despite being thin on plot, and what little is there is formulaic, it’s still pretty enjoyable. I still believe that, with the wealth of lore from the games, particularly the recent ones, there could have been more put in.

I think one of the weak spots are the characters. True, some are very well cast and characterised, like Josh Lawson as Kano, Mehcad Brooks as Jax, Max Huang as Kung Lao, Joe Taslim as Sub-Zero, and Hiroyuki Sanada as Scorpion. But other characters were either not as well written, or not well-cast, or both. I feel that Raiden and Shang Tsung weren’t quite right, and I also feel that Sonya didn’t have the harder edge that she needed. And Cole Young suffers from basically being an OC, though Lewis Tan works marvellously.

The production values are what really shine. Despite the disruption caused by COVID, the movie looks quite polished, and while some costumes and make-up don’t quite look like part of the game, others do. Effects are spectacular, the pacing works, and the violence is on screen for just the right amount of time.

Overall, while disappointing in many areas, Mortal Kombat was quite entertaining regardless. A shame it didn’t reach its full potential, but hey, it was still a quite literally bloody entertaining film…

***

 

[Quatermass]

REVIEW: That Time I Got Reincarnated as a Slime Episode 1: The Storm Dragon, Veldora, Episode 2: Meeting the Goblins, and Episode 3: Battle at the Goblin Village by Kazuyuki Fudeyasu

TYPE: TV series

DETAILS: TTRS1.1-1.3, 3X25 minute episodes

When I read the first light novel of That Time I Got Reincarnated as a Slime, I felt ambivalent about it. On the one hand, it seemed to have little plot, even when compared to the other examples of its overpopulated genre, isekai. On the other, it was very entertaining and quite funny, which helped make up for that. So, after some time, I decided to watch the anime adaptation. But would I regret that?

Satoru Mikami is 37, and is a fairly unremarkable worker at a contracting company. But while saving a friend, he is stabbed fatally. Waking up in another world, he finds he is now a slime monster, later dubbed Rimuru Tempest. And yet, despite this monster being one of the more innocuous ones in fantasy, he finds that he has a number of powerful skills. But even then, what may help him survive powerful dragons, belligerent adventurers, and direwolves attacking a goblin village may not be his abilities, but his intelligence and his empathy…

As mentioned before, the story of this series, or at least this part of it, is nothing to write home about. The plot is admittedly thin on the ground. And yet, it’s still immensely entertaining, and funny, with the humour thankfully avoiding delving too much into the cringey sex comedy even the best isekai instalments can fall prey to.

Brittney Karbowski does well as Rimuru Tempest, giving him the energy needed for the role after he is reincarnated from his human self, managing to convey both the silliness and the gravitas needed. Chris Rager puts in a surprisingly good performance as Veldora the Storm Dragon. Finally, of the goblins, I find Kent Williams was most striking as the leader Rigurd, with a complete contrast between him playing an older form earlier and a more buff role soon afterwards.

Production values are pretty good. Some animation is particularly gorgeous, though this seems to be particularly for scenes in the cavern. It does seem to drop somewhat once Rimuru emerges from the caves, though the quality is far from bad or even mediocre.

Overall, That Time I Got Reincarnated as a Slime is an enjoyable adaptation of an entertaining book. True, the plot is thin on the ground, but otherwise, it’s an entertaining example of an isekai story…

****

 

[Quatermass]

REVIEW: The Suicide Squad by James Gunn.

TYPE: Movie

DETAILS: 130 mins

I never watched the original Suicide Squad film, tempted though I was by the brilliant trailer set to Bohemian Rhapsody. Considering that film’s reputation, I made a wise decision to stay out of it. And yet, when the sequel/soft reboot came along, helmed by Guardians of the Galaxy director James Gunn, I decided to give it a go, and hope that I wasn’t mistaken to do so…

Task Force X, a black-ops unit comprised of convicted supercriminals and run by the ruthless government agent Amanda Waller, has a new assignment. They are to head to Corto Maltese, an island off the coast of South America, and wipe out the enigmatic Project Starfish, which could be used by the heads of a recent coup against the United States. After much of their initial team is wiped out, the rest of these ne’er-do-wells must find a way to complete the mission…

The plot is, admittedly, somewhat on the light side, which is a little to the detriment of the film. But there’s no denying the brilliant lashings of dark comedy and political commentary. Everything works so seamlessly in spite of the thin plot that you barely notice it.

Characters, for the most part, are excellent. Margot Robbie makes a triumphant return as Harley Quinn, but we also have many other excellent actors, or at least actors playing roles well-suited to them. Idris Elba as Bloodsport, John Cena as Peacemaker, Viola Davis as Amanda Waller and Peter Capaldi as the Thinker all do well. A pleasant surprise was Daniela Melchior as the Ratcatcher, as she’s a relative newcomer to English films, and there’s of course Joel Kinnaman as Rick Flag and David Dastmalchian as Polka-Dot Man respectively. I do think the character of King Shark was a bit of a misfire, though Sylvester Stallone is clearly having fun voicing him.

Presentation-wise, well, this film is very enjoyable. True, the rather explicit and frequent gore will understandably turn some people off, and I personally think Starro’s design is a bit too goofy-looking for this film, albeit as a consequence of trying to translate a comic book character like Starro to the silver screen. But the gore and violence, while a touch gratuitous at times, are very much of the piece, and the whole is generally a polished dark comedy action film that hits way more than it misses.

The Suicide Squad is a brilliant, if immensely violent, dark comedy action film. What else needs to be said?

****½

 

[Quatermass]

REVIEW: Harley Quinn Episode 1: Til Death Do Us Part, Episode 2: A High Bar, and Episode 3: So You Need a Crew by Dean Lorey, Justin Halpern, Patrick Schumacker, Jane Becker and Jess Dweck

TYPE: TV series

DETAILS: HQ1.1-1.3, 3X25 minute episodes

Ever since Harley Quinn made a splash on streaming services, I had wished to watch it on home video for a long time. This black comedy series revolving around the former sidekick of the Joker had gained accolades and plaudits for its fresh take on the DC universe. But would I enjoy it in earnest?

Harley Quinn is living her delusional life, believing that the Joker loves her, but after a year long stay in Arkham Asylum, her best friend, the misanthropic Poison Ivy, breaks her out, and stages an intervention that proves that Joker couldn’t care less about her. Coming to terms with this epiphany, Harley decides to prove to all and sundry that she can be an effective supervillain by herself. But between a glass ceiling for supervillainesses, a lack of respect for the ex-sidekick of the Joker, and the Joker himself, can Harley fulfil her ambitions? Well, she intends to give it a damn good shot…

Animated series that aren’t anime aren’t usually my thing, and yet, given the dark comedy on display, plus the fact that it stars so many of my favourite characters, I thought I’d give it a go. True, there’s a lot of cringey humour that does bring things down quite a bit, and both the extreme violence and sexual humour could put some people off, but the humour is more hit than miss, and very much of this generation. After trudging through what passed for female empowerment in Birds of Prey, another DC adaptation with similar themes, it’s considerably more palatable and entertaining in Harley Quinn.

It helps that the characters are not only well-written, but well-cast. Kaley Cuoco, formerly Penny from The Big Bang Theory, is a delight as Harley, while Alan Tudyk pulls double duty as both a very viciously domineering and bullying Joker, as well as the goofy take on Clayface. Poison Ivy being portrayed as a cynical misanthrope instead of a sexpot seductress murderer seems too different, and yet, the change is actually refreshing in a good way, helped in no small part by Lake Bell’s sardonic performance. Diedrich Bader plays a suitable straight man with his take on Batman, while Tony Hale plays the gleefully misogynistic Dr Psycho with aplomb.

The animation is gorgeous and fun. Of course, it is often gory, with this being a black comedy series, but otherwise, it’s quite fun and funny. One of the set pieces is the fight between Harley and the Joker’s goons at the end of the first episode, with gorgeous choreography and the like.

Overall, while cringey at times, Harley Quinn is a hilarious take on the DC universe. I intend to keep watching it…


****

 

[Quatermass]

REVIEW: Fate/Stay Night: Heaven’s Feel Part II- lost butterfly by Akira Hiyama, based on the visual novel written by Kinoku Nasu

TYPE: Movie

DETAILS: 120 mins

I’ve been meaning to get around to the second instalment of the Fate/Stay Night: Heaven’s Feel movie trilogy for some time, but never could get around to it. But now, finally, I have made inroads into this next part of Fate/Stay Night’s darkest storyline. But how would it fare?

Shirou has lost his Servant, but Saber’s demise at the hands of the mysterious new Assassin and the even more enigmatic Shadow hasn’t stopped him. He intends to find a way to stop the Shadow, even as his girlfriend Sakura Matou deteriorates. A series of disastrous encounters leads Shirou to learn disturbing truths about Sakura: she is not only the true Master of Rider, but she was Rin Tohsaka’s biological sister, before being adopted into the Matou family. And their vile magic practises have made Sakura’s life a living hell. But even as Shirou vows to protect Sakura, even if it means compromising his ideals, more tragedy will ensue. A darker form of Saber has emerged, more Servants will fall, and Sakura’s links to the Shadow will be revealed, with the fate of not just Fuyuki, but the world at stake…

While Fate/Stay Night has never shied away from dark or even transgressive themes, this particular instalment emphasizes them more than ever. It is somewhat to the movie’s detriment, with Sakura’s mana-hungry condition that is best sated in a particular way, to put it delicately, being easily misconstrued as being titillating rather than disturbing, especially to those with little background in Nasuverse lore. Still, the plot itself is an excellent one, and the pacing issues from the original instalment are less prevalent than before, even if a couple of times, one gets the feeling that it’s still a touch too abridged compared to the original work.

However, the cast, many of whom are now veterans of the Nasuverse, shine forth well. Bryce Papenbrook does particularly well as Shirou, especially a Shirou moving beyond his ideals and even betraying them to save Sakura. Cristina Valenzuela is really getting into the vibe of an even more tormented Sakura, with more of her darker emotions on display than before. Rider, aka Medusa, gets more of a presence, with Melissa Fahn giving her all, as does Mela Lee as Rin. And I’m surprised at the more human elements Stephanie Sheh is finally giving Illyasviel.

In terms of production values, this film is a wonder. Pride of place has to go to the extended battle between Berserker and Saber Alter, a visually gorgeous set piece that showcases this clash of the titans very well. Other sequences are done excellently as well, such as Shirou’s vow to Sakura, or a fairytale dream sequence that is symbolic of Sakura’s descent into insanity.

Overall, this instalment of the Fate/Stay Night: Heaven’s Feel trilogy, even as it ends on one hell of a cliffhanger, was a damn good film. I can’t wait to watch the next one…


****½

 

[Quatermass]

REVIEW: Harley Quinn Episode 4: Finding Mr Right, Episode 5: Being Harley Quinn, Episode 6: You’re a Damned Good Cop, Jim Gordon, and Episode 7: The Line by Jess Dweck, Adam Stein, and Tom Hyndman

TYPE: TV series

DETAILS: HQ1.4-1.7, 4X25 minute episodes

So, here I am, continuing the Harley Quinn cartoon series. This dark comedy series has proven to be enjoyable so far, but would that change, for better or for worse? Let’s find out…

Harley Quinn now has a crew, one that soon has computer whiz King Shark joining. But her trials and travails are far from over. Finding a hideout, working on getting a nemesis, coming to terms with her past, dealing with internet critics, trying to balance her own desires and those of her crew, and working out what line she wouldn’t cross in the line of her supervillainy. All in a day’s work for Harley Quinn…

The individual episodes don’t have much plot, save for the latest hijinks that Harley and her friends get up to, as well as showing her gradual development. The humour can be cringey, as noted before, but it does manage to hit rather than miss most of the time. Particular highlights include Harley’s conflict with Damian Wayne, or her own re-examination of her past.

Kaley Cuoco is on fine form as Harley, as is Lake Bell as Ivy. Ron Funches is a delight as newcomer King Shark, rounding out the cast, as well as managing to be far better than Sylvester Stallone’s take in The Suicide Squad. So too is Jason Alexander in the role of Sy Borgman, who manages to toe the line between offensive stereotypes and hilarity, and Wanda Sykes is clearly having a ball as the Queen of Fables.

Production-wise, well, what can I say? It may not be anime, but there’s some fun and enjoyable animation that works well. It manages to balance the style of the DC universe with the cracky nature of this series.

Overall, these were a good quartet of episodes from this series. I can’t wait to watch more…


****