Well, this is going to be my hardest review to write this season: explaining why the heck I considered Shangri-La among my favourites for the past half year. Even though there is a lot to dislike this series for, it’s really a series that proves to be very solid entertainment for those willing to suspend their disbelief.

I think it’s best explained as follows: imagine a series with a straightforward story, a simple and small cast and a slow pacing. Now imagine a series with a huge setting, a large and diverse cast of characters who all have their own motives and stance, a multi-layered story with a fast pacing that delivers buckets of plot twists each episode. Now, which of these two is likely to have more plotholes? And which one is probably going to be more exciting?

That’s basically the thing with Shangri-La. Granted, throughout the series Kuniko does a number of things that are rather hard to suspend your disbelief at (including breaking the laws of physics), and plotholes are also pretty common for those who pay attention. But at the same time, it had just about everything I look for in an anime.

The concept of Carbon Trading might seem weird at first, but it’s a pretty neat idea for this series to work with, and the setting that this series built around this concept is rich and imaginative. There are lots of different parties with all different priorities, morals and values, and the same goes for the cast: there are a lot of characters, and yet there are hardly two characters with the same outlook on life: everyone feels like an individual, and is interesting to watch and develop. My personal favourite was Karin, who gets the most development in this series.

My favourite part of this series was the plot, though. Throughout the majority of the series, you’re never going to know what to expect. Especially a good portion of the middle part of this series is features an truly excellent mystery plot, in which every revelation only makes the setting even more intriguing than it already was. Every character has so his or her own secrets, that together form a multi-layered storyline that just keeps delivering.

Unfortunately, this series plays the “lazy”-card right at its ending, which is without a doubt rushed. I’m not sure why there are only 24 episodes for this series because it definitely could have used two more episodes to wrap up the story better. The story right now just wants a happy ending a little too badly, even though it has to use lots of deus ex machina to get there. A shame.

The visuals for this series are an interesting beast. They range from rushed to absolutely gorgeous. Especially the first couple of episodes suffer from a collection of rushed shots and drawings, but at the same time some episodes feature the single most visually pleasing shots that I have seen for the past half year. The animation also picks itself up very nicely in the second half, and delivers some really good use of CG and shading to make this a very aesthetically pleasing series. The soundtrack of this series is also among my three favourite soundtracks of the past half year (with the other two belonging to Phantom and the Guin Saga).

So yes, you’re going to have to bring a cup of suspense of disbelief when you want to watch this series, and if you’re not trying to turn over every stone in search of a flaw you’ll be rewarded by a great story with a great setting that always manages to bring something new to the table, instead of dragging at the same point over and over. It’s a fun and diverse series, but I can understand why many hate the plotholes with passion.

And so this series has come to an end. Unfortunately it wasn’t the epic ending I hoped for though. In this episode, Kuniko simply kills everyone evil, and this episode unfortunately was rushed in order to get to a happy end. I expected better from this series. There were also a bunch of deus ex machinas, like Miiko suddenly popping up from nowhere and blocking bullets that were aimed for Mikuni. It was explained later, but it still feels cheap.

There also was that matter of Kuniko, somehow not becoming Himiko’s reincarnation. Why did Ryouko not know that that was going to happen? Also, Takehito was just pathetic in this episode. What, he just appears and blows himself up? Come on, that deserves more build-up. Everything just went too easy in this episode. It didn’t really build up to Kuniko’s development of becoming a leader, she simply smacked her way through everything because she happened to be a digma (thankfully she wasn’t Ryouko’s daughter, but instead a clone).

But there’s one thing I really liked about this episode: Karin’s end. She really feels like she developed her character and I liked how despite being in despair, she still managed to stop Medusa in time, and it was very nice to see Claris and Jean appear in the end. Her ending was really cute.

But yeah, overall I’m really afraid that this downer ending is going to leave me with a rather negative impression on this series, which is a shame because the middle part of this series really was everything I look for in an anime. Thinking back, I think the turning point was the burning of Tokyo: after that, the stories started to converge with each other, and it lost that bit of chaos that it was so good at in the middle part. In a way the hardest part of a mystery series is its ending: making the revelations count.

In any case, I do hope that this isn’t going to form the ending of Gonzo. Like ‘em or not, they do have the guts to take risks, even when they’re about to go bankrupt. Risks like these are much better than playing it safe. Shangri-La… if it were well executed it would have belonged to my absolute favourites. Unfortunately, the shoddy execution made it less impressive than it could have been. Still, it’s still likely to end up somewhere at the end of my top 10 for 2009, unless the fall season turns out to be really, really good. Which I really doubt until proven wrong.
Rating: (Enjoyable)

Oh my, the creators actually found a solution to the badly animated wars: skip them, and just show the aftermath. Oh boy, I never saw that one coming. While at first sight cheap, I believe that this was the best choice that they could have made. Imagine what would have happened if they did animate those fights: it would have overrun the screen with fake CG, unbelievable animation and stock footage that probably would have been used over and over again. It would have ruined the suspension just like what it did in the Nosferas Arc.

They also give an interesting anticlimactic air to the battles, which in turn works SO well with Amnelis’ development: here she is, ready to kick Naris’ butt for betraying her, and then her father collapses, she’s forced to retreat, gets cornered and charges anyway, only to be mercilessly slaughtered. It spells pathetic all over her, and yet that only solidifies her growth as a character, and develops her even more. We probably have to wait for the second season (SECOND SEASON WHERE!?) to see what it exactly paid off for, but I really loved Amnelis throughout this episode, even though just about everything went wrong for her.

If anything, the deletion of the battles show that the creators more than anything know what they’re good at, and focus on those things while leaving the large-scale battles for what they are, because they simply don’t have the budget to make them work. I must congratulate Satelight for making this decision, because despite these battles, this episode rocked beyond belief.

Also, it’s interesting that Guin’s side-story has been anime-original, but I can somewhat understand why the creators chose to do it. After all, this series is called “Guin Saga”, but his role has been that of a mere side-character for the past arc. Instead, the series could just as sell have been called the “Naris Saga”, “Amnelis Saga”, or perhaps even the “Remus Saga”. So yeah, after all that he does deserve his own place in the spotlights in the end, saving Remus and Linda from that blond guy. it forms a nice conclusion and yet at the same time isn’t going to get in the way of that second season (SECOND SEASON WHERE?!).
Rating: *** (Awesome)

After watching the new Mazinger, and realizing how well it was written I started to wonder whether the director, Yasuhiro Imagawa, might have created similar shows. After all, he also was behind Giant Robo, so he seems to have a knack for these mecha series. And it turns out that he did: in 2004 he directed and wrote a remake of Tetsujin 28, the very first mecha anime that was ever created. And I must say, after watching it: it’s just as good as the new Mazinger, if not better.

The problem with the new Mazinger is that it had a very restricted audience: if you didn’t get that it was a homage, you wouldn’t enjoy the series, and the silly overblown bits will probably turn off a lot of people, not knowing whether to take it seriously or not. Tetsujin 28-Go however is different: do NOT make the mistake that this is going to be a fun little series just because of the very simple drawings. This series is dark, deep and thought-provoking, and has no intention of making fun of itself. It stands among remakes as Casshern Sins, that take the basic premise of the series that they’re based on, and create an engrossing story that can even be watched if you have no idea about what it originally was about.

It’s very easy to think that this is yet another one of those simple “boy meets robot, they fight crime”-series, in which science is evil, however this series goes much deeper than just that. Shotaro indeed is a very young boy who is a genius detective, but at the same time he hardly has any childish antics that get in the way of the story. The series plays ten years after the end of World War II, and it really makes the most optimal use of the setting it’s in: it shows a Japan that’s on the verge of becoming one of the world’s economic superpowers, and it doesn’t just question the limits of science in this process, but it also looks at themes as creators versus creations, and the struggle of those who were born after the war, and those who witnessed its horrors, and contains a deep analysis of these themes.

This series is mostly made up of short arcs, ranging from one to three episodes in which Shotaro gets sent in to take care of some kind of case in which some scientific invention has been lost control of. Most of the arcs are relevant to the main story, and even the ones that aren’t are really well written. Especially the episode about the zoo-keeper deserves to be a classic. The final climax for this series is well built up and really manages to bring the whole series together, though the ending could have been less rushed.

It does have its faults, there are a few things that don’t make sense here and there, and Shotaro sometimes sends Tetsujin in for tasks that aren’t really fit for a giant super robot. Shotaro himself is also a bit unbelievable as a ten year-old. I know that he’s a genius and all, but he hardly has any child-like traits, and he even can perfectly drive a car! Children at his age should be busy being child. Not fighting crime.

I’m surprised that this series has flown so much over the radar, especially with the cult status that Giant Robo has. Tetsujin basically took the strong and intricated story of Giant Robo, and removed all of the over the top homages to overly manly giant robot shows, and instead played this setting straight. The result was epic, and recommended for anyone who’s in for a dark story. It’s not perfect, but there really is a lot to like. The animation is well done, despite the at first sight simplistic character-design, and the soundtrack also is really good, featuring a bunch of top-notch tracks.

Oh my god… it’s happened. It’s bloody happened. What an incredible episode this was, it totally changed the way I look at this series. I know that I’ve talked down to this series a lot for the past months, but damn. This episode really reminded me why I’ve become such a huge fan of the World Masterpiece Theatre… BIG SPOILERS coming up!

But yeah, that disclaimer must have been a bit redundant, because it’s an event that probably everyone knew about before this series started: the death of Bert. And that’s one thing that makes the World Masterpiece Theatre stand apart from all those other series: you know bad things are going to happen; you know that the shit is going to hit the fan, but you just never know when exactly it’s going to happen. Especially Les Miserables loved pulling this.

But seriously, the end of this episode took me utterly by surprise. The build-up for this episode was just SO adorable. Because of all the things with Henderson, I was really starting to forget what makes the World Masterpiece Theatre stand above 90% of all other anime: the character-development. And of course: that’s going to take about 25 episodes to really pay off in your average series. This episode really was where everything came together in terms of development in a really adorable Christmas episode. From Bert finally selling his trophy, to the villagers forgiving him because of how he risked his life to save Noah in the previous episode. It all fit incredibly well.

It’s really a shame that this series was wrongly advertised as Anne of Green Gables’ prequel, because that would suggest that Anne is the only important character here, while in fact this series is just as much about Bert, Johanna and the rest of the Thomas family.

I really wonder how this series is going to play out now that Bert is about to die. Not in terms of where the plot is going, but whether Anne’s second family is going to be able to match up to the Thomas family, or whether they’re going to be more like the stereotypical Henderson, Randolf and Mildred. I really have no bloody clue, but the past few episodes have really made up for how this series just kept going on about Henderson in the Marysville School Arc.
Rating: *** (Awesome)