The bounty hunters, who are gathering in the spaceship “BEBOP”, will play freely without fear of risky things. They must create new dreams and films by breaking traditional styles. The work, which becomes a new genre itself, will be called… COWBOY BEBOP
Series Rating: 5 / 5 Film Rating: 3.5 / 5
Cowboy Bebop. Probably the first major anime I introduced myself to when I was younger, outside of Dragon Ball Z and Yu-Yu Hakusho anyway (didn’t see much of the latter). One of those series I found myself coming back to on a couple of occasions, including recently. I wanted to see if it was as good as I remembered. Well, it wasn’t. It was better.
Despite its episodic structure, in the sense that each episode is sort of stand-alone, there is an overarching theme to the whole thing. It’s all about the weight of the past, and the ways it affects the present. Every episode has that aspect of it to some extent. Whether it’s a character’s past mistake or broken relationship, a misdeed done by a government or corporate agency, old vs. new technology, or even a callback to a past cultural influence such as the western cowboys, Japanese samurai, or the Jazz/Blues music of the 70s exploitation era. It all affects one or more of the major characters in each episode in some way.
Each episode tackles this central theme in a different way, while also building upon the central protagonists who are in (almost) every episode themselves, or the galaxy they inhabit. This is a setting where mankind has acquired the technology to colonize a few planets in the solar system, thanks to jump gate technology (which itself had at least one catastrophic event with its development, which has affected individuals in certain episodes), and the development of various forms of spacecraft, small and large (including one ship design giving it the look of a tommy gun), capable of entering and exiting planet atmospheres and flying in space. And aside from ship technology, it is also possible to change one’s identity if one has enough cash (woolongs). Some episodes show a man going from skinny to fat, from a white guy to a black guy, a man to a woman, etc. Primarily with the intention to evade authorities and bounty hunters (the latter of which exist because there isn’t enough of a police presence on a solar system scale to track down all criminals).
Just as the criminals can’t outrun apprehension from the hunters or the authorities forever, neither can the protagonists, or anyone for that matter, outrun their past forever. The past only serves to chain us down until it is confronted and resolved. Yet one may find themselves in a position where resolving the past is impossible, or so one could think. There are multiple ways to resolve the weight of the past, each way leading to a different outcome. After all, the criminal could always just turn themselves in, an option that was presented in at least one of the episodes (though they never seem to take that option). It’s more about figuring out a way to let oneself be reconciled with their own past. Otherwise, being so hooked up on the past, you’ll be unable to appreciate what you have in the present. And if you stay hooked up on the past long enough, the stuff in the present you could’ve appreciated may be gone, just like the past.
And incredibly enough, this is a mature series. And by mature, I don’t mean in regards to the violent content or the sexual content or the nudity (the latter of which is only present very briefly in one episode). I mean mature in the themes themselves. Past weight and consequences aside, have you noticed a trend in most anime films that are out there? The same kind of trend that occurs in most films over the past few decades? This series is not one about “the coming of age,” or, “realizing/fulfilling one’s destiny,” or, “overcoming impossible odds through comradery and personal discovery,” the latter of which is something I tire of seeing, because it’s fucking everywhere, in virtually everything that is classified as an action/fantasy/adventure film. It’s about adults, who are likely past their prime, trying to rediscover a meaning in their life, to try and make a living in their self-employed conditions and harsh lifestyle. Adults who have no more life-lessons to be learned. Because normally, a situation like that acts as the motivation for the protagonist to do any of the previous traditional film/series arcs. We need more series and films with mature content like this, without any quest or destiny to be fulfilled. We need films and shows that teach us to be mature in their own way.
But anyway, funnily enough, the first episode I ever saw of this series is the same episode a few people I’ve become acquainted with coincidentally first saw. Heavy Metal Queen. And yes, it’s still one of my favorites, with this space trucker chick who blasts heavy metal music, plus that awesome sequence where Spike Spiegal is attempting to hop from one ship to another, by ejecting himself into space without a suit. My other favorites include Mushroom Samba (the “Edward” episode that’s also all about 70s blacksploitation, and a bit of Django), Gateway Shuffle, and Wild Horses. That being said, all the episodes are great.
As for the characters, the major characters are all solid. Spike and his Bruce-Lee inspired martial arts and philosophy, Jet being his stubborn hard-ass self, Fey being dangerous seductive manipulative and somewhat self-destructive, Ein just for being there, and Edward. Edward completely steals the show from everyone else, for two reasons. One, she is so wacky and unique and fun. Two, the English voice actress for her is unbelievably great. We’re talking greatest dub for one of the greatest animated characters of all time great. On-par with Mark Hamill’s dub of the Joker.
There’s a reason this is considered not only one of the best gateway anime series to watch, but also one of the greatest of all time. Accessible and deep, and ages like fine wine. Some episodes are hilarious, others great solid action/drama/noir/thriller entertainment, others pack an emotional gut-punch. It doesn’t answer every question raised or hinted at, and that’s perfectly fine, because it’s good to leave people wondering about some of these things, to have some mystery about the past, and how some characters will turn out in the end. And unlike most anime, it’s also refreshing to see one that has a definitive end. With it’s mismatch of different genres and episode structures, and managed to pull things together in such a perfect concoction, it’s a true lightning in a bottle series.
And then there’s the movie Knocking on Heaven’s Door.
It does a bit of development on Spike’s character, but it’s not really anything any true fan didn’t already pick up on from the series. But it does have those bitchin’ insta-noodles, and the callback to the battle on Titan (and no, this has nothing to do with that series Attack on Titan, though I’ll eventually get around to watching the latest season of that), with another dimension to it. Another example of how fucked up things were in that war. The show and the movie never does enough to show/tell all with what happened there, and that’s a good thing. All you need to know was that it was hell, and there were some weird biological/chemical/nano experiments utilized on some of the soldiers in some of the battles. It’s more of a background thing among a bunch of other background elements in both the movie and the series. It has enough subtle world-building moments to compare to the series.
I want to like the movie more than I currently do. It’s a decent enough stand-alone (fitting in with the episodic nature of the series). Not the best entry, maybe not the worst (though the worst is better than most anime can approach). But it is a real slow burn at times, especially during the first half. The filmmakers really wanted to indulge in having that extra time they wished they had to pad things out, going from a 25 minute episode, to a 90 minute movie. It’s just that you can really feel the slow crawl at times.
Thankfully, the film kicks into high gear at two separate points, from Fey chasing the hacker arcade guy, and leading to the fight on the subway; then the breaking out of jail all the way to the finale. It made getting through the slow portions worth it. That’s not to say the slow portions were entirely bad, they had some decent moments too. Like Edward and Ein going trick or treating (this movie should be watched annually for Halloween!).
There are two aspects of this film that make it truly memorable. First, the fights between Spike and Vincent, especially during the finale. It’s some of the best martial arts sequences ever put to animation, and I challenge anyone to find grounded fight sequences in any animated film that does it better than this (CG does not count, and fuck anyone who tries to pull that shit; you won’t find any grounded fights that use CG anyway; sorry if that’s coming off as harsh, I’m boozed up for this review [not while I was watching the movie]).
Second, the sequence where Spike is flying his ship and dodging the military aircraft. Holy God. That whole bit is a masterpiece in animation. You can feel the weight, you can feel the change in gravity and momentum. They put so much effort into making these aircraft seem real that it’s insane. This sequence doesn’t get anywhere near enough of the appreciation it deserves, especially for a non-CG animation sequence. I’m sure there are other anime films/shows that have reached the level of this sequence, if not surpassed it. But it’s more than a pleasant surprise to see something like that in this movie. I also appreciate that it doesn’t dumb down the military aircraft/pilots just to have the protagonist have a chance. They use some intelligent maneuvering, and it’s never anything really over-the-top.
And that’s one of the things I appreciate about this anime flick. Just because it’s an anime (let alone an animation) doesn’t mean they have to go full bonkers with it by doing stuff that defies the laws of physics and couldn’t possible be done in a live-action film. They keep it grounded, which makes it all the more investing for someone like me. Plus there aren’t enough solid R rated animated flicks out there, especially ones that don’t do R-rated stuff just for the sake of having an R-rating, or for the sake of being exploitative, and really cartoonish. That’s not to say I don’t get enjoyment out of animated flicks that do just that (Dead Leaves, Heavy Metal, Golgo 13: The Professional, Redline), it’s just refreshing to see one that makes an extra effort to stay in grounded territory when it comes to the action.
So I’d say that extra half star is partly for appreciation of what the film contains compared to other animated flicks out there, and also partly just for being a Cowboy Bebop flick, with the same director, and same voice actors. The film didn’t do a disservice to the show, but I can’t say it’s outstanding in it’s own right. It’s just there, as a stand-alone extended episode. And that’s perfectly fine.
I do have to admit though. Considering this was originally released in Japan September 1, 2001, 10 days prior to 9/11, and it has a Middle Easter character responsible for developing a bio-weapon (and the vaccine for it), terrorist bombing killing hundreds of civilians, plus brief imagery of the twin towers, it got a bit eerie. It makes some of the more subtle themes and background stories somewhat relevant, though you have to pay attention to catch it.
PS: Just to get ahead of the curve, fuck you Netflix for fucking this up.
I suspected they were going to drop the ball with this season, especially after seeing how season 7 went. Season 6 made me think, “Oh, maybe there is a chance they could do well even after going beyond the books that George Martin will probably never finish, because he didn’t have a clear ending in mind).” Season 6 had some issues, but they were largely forgivable in my opinion. Then came along season 7 which confirmed by fears.
I knew the first episode of this final season would let me know very quickly whether or not it would improve. Well, I saw it, and I can say, it didn’t. It might end up being worse. Let me give an example of what I’m talking about.
There’s this scene where Snow, Fire, and the two dragons arrive in Skyrim: Winterfell, and they do some trash talking in-doors with other leaders from other families/nations. It is scenes like this where the earlier seasons were at their strongest. The dialogue, the setting up of ulterior motives and plans within plans, the political trickery, the personal grudges, the hopeful alliances, etc. The opportunity was ripe for discussing all this stuff and spending plenty of time with each of these characters to get to know their plans. They could’ve easily spent half the episode here. Especially when they have to discuss the issue of the dragons, whether or not they will start killing other people, infighting with the natives against the outsiders, etc.
What do we get instead? Just a bunch of small setups to petty one-liners.
“What do the dragons eat anyway?”
“Anything they want.”
Seriously, rather than spend time in-depth with these people and their diplomatic talks that should really fucking matter, and get us more immersed with their plights and points of view, we just get setups for dumb one-liners. That’s the whole fucking episode! It moves too fast for its own good, suffering from the issue of trying to be more action-oriented than character/dialogue-oriented. But they probably don’t have any choice, because the writers have lost the best of their talent by the time season 7 came around.
And even when the fucking action does happen, it comes off too clean and orderly. If an episode of Game of Thrones comes off with an aura of, “Everything is going according to plan,” you know you fucked up. The rescue operation for that bitch on the ship. Contrast that with the rescue operation a few seasons prior where that same bitch tried to rescue Mr. Dickless. I mean, for fuck’s sake, even if the rescue operation wound up being a success in that past episode, they would’ve been losing several men in the attempt. The fucking rescue attempt in this episode is not only successful, but goes off without a fucking hitch!
The one and only decent moment in the entire episode is when fat fuck Tarly meets with dragon lady, and then meets with John Snowflake. Even fucking then, he sure does manage to move his fatass around very quickly around the kingdom, managing to get from one place to another. Seriously, is the entire continent the size of Rhode Island or something?
The dialogue is poor. The characters are shells of their former selves (for the most part). Characters have gained the ability of plot armor. And they are trying not to show their pro-feminist hand. Seriously, virtually every major male protagonist character has something physically wrong with them. Whether it’s not having a dick, being a midget, having burn scars, being old, or having been dead. What the fuck kind of physical ailments are most of the women in this show supposed to have other than maintaining a face expression of, “I’m better than you are.” Seriously, they’re trying to push the idea that Sansa is one of the bestest greatest smartest women in the kingdom. Fuck Sansa, Sansa sucks.
EVERYONE should be suffering from something in this show! Despite the fact that winter is here, it all seems like Happy Days. I’ll stick it out, but my expectations are very much lowered at this point.
WARNING: If you haven’t seen the show before and intend to watch it, SKIP THE FIRST EPISODE!!! That first episode should be the last episode, because it acts as a sort of epilogue to the entire fucking season (seriously, fuck them for putting that episode first and spoiling much of what is to come). That aside, there will be spoilers in this review, which may make that warning pointless.
So having watched Babylon5 and Farscape, I’m left wondering what else there is that is considered excellent among the best sci-fi shows ever made (ones that are live-action, have an actual ending, and isn’t Star Trek, because Star Trek is the default sci-fi show to fall back on in every situation). I heard about this one, so figured I’d check it out. After watching the first episode of the first season, I immediately purchased the whole series on eBay for roughly $20, a pricetag I thought was worth it just for the first episode alone.
The first episode of this series is a masterpiece if I ever saw one. Mind-bending, confusing, unique, different, dark, unpredictable. It contains a lot of elements that I hope to find in the sci-fi genre. You are dropped into the middle of a story with no background or information given; next thing you know the series jumps thousands of years into the future where we’re dropped into yet another setting with no information given. A dystopia planet where all but the high classes are slaves in a harsh slave-labor-intensive environment where punishment is harsh and common. Then a whole bunch of shit happens involving love slaves, undead assassins, talking brains, hellraiser-inspired shit, escape, and a ship capable of destroying planets with ease. I mean, good lord, the first episode set the bar so high for this franchise I wondered if it would be matched or raised in later episodes.
Well, for season 1, which only consists of 4 episodes, each 90 minutes in length (originally a Showtime series with a movie per episode), episodes 2 and 3 are largely filler episodes that do little to progress the story, but to allow viewers to become more familiar with the main cast of anti-hero protagonists, and they are fun in their own way. But episode 4 is when it starts to reach back to the heights of the first episode, adding up to a decent finale. The crew of 3 (plus a robot head) on a planet destroying ship going up against the Shadow (or the Divine Shadow). The fate of the universe is at stake. A crew of anti-heroes who honestly could be considered villains if you read into it enough, going up against a being who is most likely more evil than them.
Themes related to Brazil (the movie, not the country), rebelling against authoritarian rule, potentially being just as bad/destructive as those you are trying to overthrow (leaving nothing but destruction in your wake, while at least something existed under their rule), becoming independent, and how even the most powerful can become too arrogant and make mistakes leading to their downfall. Similar traits shared by all.
The first of the 4 seasons is a rock solid entry into the sci-fi genre. I dare not spoil who the protagonists of the series are for those who haven’t watched it. Just take my word for it, you have to see the first episode, if nothing else. The first episode is easily a 4/5 for me, maybe even higher upon repeated viewings. And if the franchise ended on that first season, and if it didn’t have a bit of a cliffhanger, I would say it’s one of the greatest sci-fi series ever made.
But then comes the next season, season 2. It starts out fine (even though it now resorts to be standard 40-50 minute runtime episodes), though you begin to realize that the captain of the Lexx is as big of a dunce as the first season implied. He becomes very difficult to root for much of the time. I’m pretty sure that’s the point, as the series wanted to do something different by having the main protagonists be those whom no one would want as a role model. They fuck things up, sometimes try to do good, but ultimately cause destruction usually doing more harm than good. It’s not a bad idea, but it needed a better script to make it work. That, and a little more budget. Seasons 2-4 don’t have the same quality as that of the first season when it comes to special effects and set design (though Season 4 does make the Lexx ship look its absolute best). But that’s the least of their problems. They opt for a more light-hearted goofy tone as opposed to a very dark and grim tone with some moments of humor thrown in here and there. It’s tonal whiplash from the first to the second season.
Aside from the first few episodes of season 2 (which does come with a shocking moment I honestly didn’t see coming), the first half of the season is a bit of a drag. Stand-alone episodes with only vague hints to an over-arching story, and many of them just aren’t that great in my opinion. But once the latter half of season 2 comes, the episodes become less stand-alone and begin to progress the plot episode to episode. And, to my amazement, it actually pulls off something that I normally despise, but makes it work. There’s a stage-play musical episode that delves into the backstory of one of the protagonists. As much as it sounds like this shouldn’t work and make it one of the worst episodes in the entire series, it’s quite the opposite. The episode is fantastic, somewhat emotional in its own way, and does its job in getting the viewer pumped for the finale. And the finale is actually quite good. So despite the bullshit that is most of the first half of season 2, and the overall decrease in quality, it actually feels worth it in the end. And it offers a more satisfying conclusion than that of the first season.
Themes of admitting one’s own faults, owning up to them and trying to turn things around, before you’re past the point of no return. And being courageous in the face of destruction.
If the series ended there, it would still be good, though flawed. A 3.5 / 5 rating. But it doesn’t end there.
Fuck this season in it’s dull monotonous boring as fuck asshole, with a sandpaper condom with cactus pricks glued onto it. While the first couple episodes may be interesting, and the season has every episode progressing the plot with no stand-alone episodes, the pacing is motherfucking slow! The crew gets continually stranded on the same 2 goddamn planets (while in the last couple seasons they usually visited a different planet each episode), where it becomes the same old shit over-and-over again. I wanted this season to end by the time I got to episode 6. But noooooooooo. They just had to drag it on for 13 fucking episodes. Here’s how each episode goes:
“We need to leave!”
“Let’s go to the planet to deal with so-and-so.”
“We did it, let’s get off the planet.”
“Let’s deal with so-and-so.”
“Ok, we’re back on the ship, let’s go!”
“Fuck you and fuck me and fuck everything and fuck this fucking season! GHAAAAAAAAAAAAAAHHHHHHH!!!!!! MOTHERFUCKER!!!!!!!!!!!!!!!”
This season should’ve been half as long as it is. But it isn’t. So it’s a slog to get through. I’d honestly recommend just watching the first 3-4 episodes, then skip to the last 2. You’ll be able to pick up enough information to get a general idea of what’s happened between that time. You’re not missing much, trust me.
Themes of what one can look forward to in the afterlife, facing punishment for all the harm one has done, or facing reward for all the good one has done. Yin yang with good and evil, though this aspect isn’t put forth anywhere near well enough.
This season drags the show rating down to a 2 / 5. But there is one more season.
Ok, yeah, it’s better than season 3. And on-par with season 2. But seasons 2-4 pale in comparison to season 1. The main reason to watch this season is to get to a more definitive end for the series, even if it doesn’t tie up every loose end (I think this is intentional for some thematic reason regarding the fate of this other group of people who aren’t the main protagonists). In this season, the Lexx gets to Earth, in the present day (though it’s sort of an alternate reality version of Earth; at least that’s my theory, otherwise it’s possible to drive rocket ships as easily as you can drive a car, sometimes with a joystick). There are some tidbits dropped here and there that link back to the lore setup in season 1 (which isn’t really developed at all in seasons 2-3). But these tidbits, in hindsight, aren’t satisfactory. This season acts as satire for the U.S. and its stereotypes and capitalism and politics. Some of the satire is great, some is so-so. But I can’t say I ever got completely bored with it. It does have some build-up to the finale, but season 2 had better build-up for its own finale compared to season 4. On the other hand, season 4 has a greater amount of entertaining episodes compared to season 2. Pros and cons, but at least neither are season 3. When it does get to the final episode, it does end by giving the best character in the series the ending he deserves (without this one character, I would’ve stopped watching the show long ago). So despite other protagonists still being around, who gives a shit? Once this guy ended, the series ended, and that’s fine by me.
Aside from the ending, there is a stand-out episode I rank up there with the stage play episode from season 2. The episode where these two guys are playing a chess game on some inter-dimensional plane. And it shows the full chess game with every move, with nice commentary between the moves. And the tension is high throughout, making you wonder if the protagonist is confident for a reason, or is being overconfident.
Themes of destruction and rebirth. A society doomed to fall, but hopefully has accomplished enough to carry on from the ashes. How love can cause one to do things terrible as well as things that are wonderful. The things we do for companionship.
At this point, I’d give the series overall a 2.5 / 5, which pains me because there are some great moments to be had here and there. It’s just that they get spread too far from each other after season 1, and are practically nowhere to be found in season 3.
The first season is the one and only season that takes the premise and the content seriously and doesn’t ever really get tongue-in-cheek with it. That all changes for the worse with the other seasons, though they each still have some great moments in them (though season 3 only has a few, which isn’t enough to justify its 13 episode length, which is practically half the number of episodes in seasons 2 and 4). Seasons 2 and onwards gets quite pervy at times. I’d say the perviness goes a little too far in season 2 where every other episode is perverted in some manner. They ease up on it with seasons 3 and 4. Would’ve liked the show a lot more if the captain of the ship was a less annoying and more like-able character (though that might defeat the purpose, as the series wants anti-heroes as protagonists whom the viewers are supposed to get frustrated with at several points in times).
If there is any show that could use a reboot, it would be this one. And honestly, the timing is just about perfect for it. SJWs are prime candidates for satire, but the show can also get away with having a lamebrain wimp of a male protagonist who represents everything feminists and PC people despise to even things out. Hell, I think the series could do with a stronger female protagonist (aside from season 1, she didn’t really do all that much other than be naively innocent in her view of the universe and with her view on getting laid, despite her strengths and what she is capable of, which never really amounted to anything significant). The show can take shots at everyone, but should also take itself more seriously than the original version does (save for season 1). There is still potential within this series that has remained untapped due to the lack of good creative writing.
So despite the 2.5 / 5 rating, I can give the first season a rock solid recommendation, season 2 a cautious recommendation, but the rest I would advise watching at your own risk. The later seasons are good only for having a fitting end for one of the main leads (well, I guess a fitting end for 2 of the leads if you think about it). And even then, you have to slog through a lot of bullshit to get to the good parts.
PS: Oh, in case you were wondering, Babylon 5 and Farscape are leagues beyond this show. I’d recommend those for anyone who wants to get into live action sci-fi series (and Star Trek TOS and TNG, of course, which should be assumed to be included to any list such as that by default). From what I’ve researched, nothing else really comes as close as these when it comes to sci-fi shows to recommend, though Stargate SG1 and X-Files aren’t half-bad either. As for Battlestar Galactica, the old series was never finished. The Sci-Fi remake/reboot, however, turned into ass by the end, so I can’t in good conscience recommend that.
There are times when I get sick of watching movies, and seek out great television shows. Usually I seek out shows that have already been seen through to completion, and dive in at that point. Because I hate getting into shows that have no ending, that were cancelled before they really got going. I’m not one to get into ongoing shows, with some exceptions. So a while back I decided to get into this show, knowing its reputation, knowing that it was wrapped up the way the creators wanted (for the most part), and knowing that it wasn’t episodic in nature so much as each episode progressed the overall story in some way. A sci-fi show that lasted 5 seasons where each episode of each season progressed the overall story? And it’s considered one of the best sci-fi television series of all time? Couldn’t pass on this.
First, what the series is about. It’s about a space station, in space, orbiting a planet that is well away from Earth. The station is called Babylon 5. The number 5 is significant because there were 4 Babylon stations to come before it. The first 3 were destroyed either during construction, or soon after being built. The 4th mysteriously disappeared. So hopefully the fifth time’s the charm. The space station is meant to be a politically neutral place of existence, where all races from all quarters of the universe can send their people and representatives to for coexistence and having their say with planetary talks. No race is excluded, so long as they don’t go against the peace on board the station.
From there, Babylon 5 would eventually find itself to be caught up in a conflict that threatens the universe.
A Note on How To Watch This Show
So, if you should wind up diving into this show, there’s a certain order you should watch things in. There’s more than just the 5 seasons, there’s also a few tv movies that may be watched in a certain order.
First there’s the pilot episode, The Gathering. That is the episode that should definitely be watched before starting Season 1. It’s a solid introduction, but you also have to pay very close attention to what’s going on. Nearly every minute there’s information dropped about the species, the significant characters, and how they interact with one another. And yes, some information is significant and gets brought up later. Plus there’s a decent assassination plot storyline.
And honestly, the only other film I’ve seen that’s worth watching is Thirdspace, which should be watched in the middle of season 4 (best watched between episode 8 The Illusion of Truth, and episode 9 Atonement. It’s basically a Lovecraftian tale in the Babylon 5 universe, and some say it’s the best out of all the Babylon 5 movies. If its not the best, it’s close.
That being said, I can only recommend The Gathering (must-watch before starting any season) and Thirdspace (optional, but entertaining). The rest aren’t good enough to warrant a recommendation, especially since they don’t contribute much, if anything, to the main overall story.
It was the dawn of the third age of mankind, ten years after the Earth-Minbari War. The Babylon Project was a dream given form. Its goal: to prevent another war by creating a place where humans and aliens could work out their differences peacefully. It’s a port of call, home away from home for diplomats, hustlers, entrepreneurs, and wanderers. Humans and aliens wrapped in two million, five hundred thousand tons of spinning metal, all alone in the night. It can be a dangerous place, but it’s our last, best hope for peace. This is the story of the last of the Babylon stations. The year is 2258. The name of the place is Babylon 5.
The first season is when the show it at some of its cheesiest, 90s-est, episodic-est. It’s the season that will make first-time viewers wonder what the deal is with the show’s popularity? It’s not going to seem all that special compared to other shows out there like Star Trek: The Next Generation (on that note, there’s a bitter history between Babylon 5 and Star Trek: Deep Space 9, where one alleged that the other ripped off story elements from the one). I mean, it wasn’t weak or anything (at least by mid-90s standards when it came to the special effects). Just that it didn’t seem like anything all that significant compared to those that came before it like Star Trek. However, the first season is basically just laying the groundwork for all that is to come for the next 4 seasons. The stand-alone episodic nature of some conflict arising aboard the space station Babylon 5 (or off-board it) may seem random and just being there just to tell some made-up story to pad out the series, but it’s not random. At least 90% of the episodes contain some character, faction, race, story arc, that will be further developed or referenced in later seasons. This is basically a glorified introductory season to the universe of Babylon 5.
We get introduced to the Narn, Centauri, Minbari, and to a lesser extent, the Vorlons (they are expanded upon in later seasons, and left mysterious in Season 1). As we learn later on, it’s not so simple as to have each alien species listed anymore than it should just list the human species. There are factions within each species who each have their own agenda, in particular the psychic human faction who alienate themselves from everyone but other psychics (particularly the PsyCorp). However, just about every race except the Narns (for reasons given later on) also have their own psychics, some with telekinetic capabilities.
And, of course, we get introduced to the central characters in the show. Those shown in the above picture are the significant standouts for the alien races. Commander Sinclair, a veteran of the Earth-Minbari war who always wants to be first to enter the action when conflict arises onboard the Babylon station. Now, normally, stuff like this bugs the shit out of me in tv shows. You know, how the central character(s) are always involved (or get involved) with every conflict that arises, when it would be more realistic and practical to get others involved first. Like on that show Fringe, where the main detectives seem to be either the only ones on the scene of an ongoing crisis, or are always the one to put the villain of the episode down. You know, as opposed to having other detectives go in and get the takedown. Especially when there’s so much as stake with the central character for one reason or another. This isn’t a problem with superhero shows because, well let’s face it, the superheros intentionally go looking for trouble to fix, which in-turn results in trouble coming after them. I’m talking about shows with non-superheros in them.
While this show suffers from that problem (and let’s face it, a lot of shows have this problem to this day), it at least has a decent excuse for it. Sinclair, the commander of Babylon 5 and the central protagonist of season 1, has a habit of always wanting to get involved in the action. He views himself as a soldier first, a commander second, which makes him a bit rash and always wanting to take the enemies down himself, even if he risks so much doing so, as it would deal a huge blow to the station operations. He preferred being a soldier than being a commander, which gives him a reason on a personality level for always being at the center of the conflict in most episodes.
As for the conflicts, while there are some that threaten the entire station, most aren’t too major, at least by the standards that would be set in later seasons. The main significant conflict comes up during the last couple episodes, when something happens that breaks the mold of having a happy ending for each episode. Something that causes Sinclair to say, “Everything’s different now.” He’s right, and that change was only getting started.
If more of our so-called leaders would walk the same streets as the people who voted them in, live in the same buildings, eat the same food instead of hiding behind glass and steel and bodyguards, maybe we’d get better leadership and a little more concern for the future.
The first half of the season is more or less the same as Season 1, despite some character change-ups. Some revelations and profound insights to a couple races are revealed early on, but other than that, the show progresses basically the same as in the last season. However, some extra cheese is added, mainly with the new character Sheridan. Whenever he’s talking about his wife of the past, and his potential love interest of the present, the show just turns into a full-blown soap opera. The fucking dialogue and the fucking acting, it pained me just as much as it made me want to laugh. The good news is, when these bits come up, they don’t take up too much time in the episode they are in (10 minutes or less overall per-episode it’s in).
And I wasn’t too crazy about the Sheridan character for a while. He comes off as too much of a goody-to-shoes, a guy who is flawless and too good-natured in-spite of his reputation of being feared by the Minbari because of his combat tactics. In other words, I feared this show was going to have a Gary Stu character (ie the male equivalent of a Mary Sue).
But then comes the point of Season 2 when the episode titled In the Shadow of Z’ha’dum happens (about 2/3rds through the season). Not only does this episode actually showcase some depth to Sheridan’s character by showing some faults within him, it brings a sense of dread and high stakes to the entire series. This is the episode that acts as a pivotal turning point for the entire show. It’s the episode that let’s viewers know their patience will be rewarded. The mysterious enemies, the Shadows, and the threat they pose to the universe is known, and how there are several parties within and outside of Babylon 5 that have a stake in all this, and their own motives, and their own knowledge that both the viewer and the central protagonists do not have. This was the episode that made me go all-in. This was the episode that made me look forward to the next, and the next, and the next.
So if you think the show is testing your patience too much, that you fear it may not be worthwhile in the end, try sticking though Season 2. That’s when the show starts to take the gloves off (including having the Babylon 5 station get involved in an actual space battle during the finale). The next season is when it would start swinging.
Everyone lies, Michael. The innocent lie because they don’t want to be blamed for something they didn’t do and the guilty lie because they don’t have any other choice.
When we get to this season, we get to see all sorts of shit happen. Stories regarding time travel, alternate realities, alien races beyond the outer rim, conflicts within each alien race, etc. This is the episode where everyone is getting revved up for a war against the Shadows. Think of this season as the equivalent Mass Effect 2 (tv season equivalent to game entry into that trilogy [anything beyond Mass Effect 3 is irrelevant as far as I’m concerned]). The Babylon 5 station beginning to realize how pivotal its role is with defending the universe from the Shadows by using its neutrality as an advantage. But it comes at the cost of realizing that they will have to take a side at some point, which will pit them against people they once considered friends. Plus there’s infiltrators, those who are allied with the Shadows, and characters who begin to go down dark paths they may not be able to recover from.And the season ends with one of the most intense and thought-provoking episodes the entire series is likely to ever have; making everyone eager for the next season, the season many consider to be the best out of all of them.
If I take a lamp and shine it toward the wall, a bright spot will appear on the wall. The lamp is our search for truth… for understanding. Too often, we assume that the light on the wall is God, but the light is not the goal of the search, it is the result of the search. The more intense the search, the brighter the light on the wall. The brighter the light on the wall, the greater the sense of revelation upon seeing it. Similarly, someone who does not search – who does not bring a lantern – sees nothing. What we perceive as God is the by-product of our search for God. It may simply be an appreciation of the light… pure and unblemished… not understanding that it comes from us. Sometimes we stand in front of the light and assume that we are the center of the universe – God looks astonishingly like we do – or we turn to look at our shadow and assume that all is darkness. If we allow ourselves to get in the way, we defeat the purpose, which is to use the light of our search to illuminate the wall in all its beauty and in all its flaws; and in so doing, better understand the world around us.
And this is it, the high point of the show. Everything was building up to this, and it does not disappoint. The Shadow war is in full string, and there are other civil strifes going on with each race, threatening to tear alliances apart that are desperately needed to go against the Shadows. The civil strife is also prevalent with the Vorlons, the one race fully capable of taking on the Shadows, yet it’s revealed they have their own ulterior motives that may go against that of the human race. And I won’t say anything about how/if any of this is fully resolved, but I will say that things won’t always go the way you think. There are victories, and there are losses, and there are bittersweet moments to show that even victory comes with a price of its own, just as some losses are complete devastating defeats one can’t recover from in some way.
The most intriguing episode of this entire season, in my opinion, is the one most relevant to today. Outside of the conflict and war episodes, there is one that showcases propaganda and biased news reporting. The episode titled The Illusion of Truth (fitting), where a news reporter from Earth is given a walkthrough of the station. Sheridan hopes for the best with the reporter reporting on things objectively, but during the last 15-20 minutes of the episode, we see how the news can twist facts around in the most extreme ways by only inserting partial truths amidst the whole lies, leaving out footage and dialogue, and altogether painting a picture that is meant to smear the Babylon station and unite Earth and its factions against it. It’s episodes like this that demonstrate just how intelligent and relevant the show is.
It should be mentioned, however, that you should skip the last episode of this season (The Deconstruction of Falling Stars). Save it for either after the last episode of season 5, or viewed just before the last episode of season 5. Personally, I’m thinking it should be viewed just before the last episode of season 5, for reasons I’ll give later.
I believe that when we leave a place a part of it goes with us and part of us remains. Go anywhere in these halls, when it is quiet and just listen. After a while you will hear the echoes of all of our conversations, every thought and word we’ve exchanged. Long after we are gone, our voices will linger in these walls for as long as this place remains. But I will admit that the part of me that going will very much miss the part of you that is staying.
The final season, and this one is a mixed bag unfortunately. Seasons 3 and 4 are the seasons everyone agrees are the best. Seasons 1 and 2 were warmups for those central seasons. And then there’s season 5, which starts out rough. The reason it starts out rough is because the show creators weren’t completely certain they would be renewed for a fifth and final season, so they crammed more into season 4 than they would’ve liked for pacing purposes (though it did result in the most intense season yet). Because of this, they had to make up a few stories they didn’t have penned down prior to season 5. The blunt of this is during the first arc, where this group of rogue friendly semi-hippy psychics show up and stick around for a while. They do too much to make these people seem happy and cheerful and innocent, it made me sick, and made me want to see them all fucking die. But to the show’s credit, it did partially give me what I asked for in that regard (spoilers by the way, like you’ll give a shit for that subplot). All that said, the subplot with the psychics did provide some intriguing revelations, and did serve as a turning point for some central characters in the show. A good kind of turning point.
In regards to the big question, “Does the show wrap up all plot threads in a convenient way?” The answer is no, but that’s a good thing in this case (probably the only show in existence where it’s a good thing). It carries on a theme that becomes more and more apparent as the show goes on. The theme that, “It never ends.” That every time one foe is (or appears to be) vanquished, another comes to take its place. For every victory, there is a defeat. For every moment of happiness, there is a moment of sadness and pain. When it seems like things will be fine now with all the previous conflicts dealt with and new ways of life that should improve everything, it turns out there are leftovers from previous conflicts that rise up to botch everything up. When a goal is accomplished, those that united to achieve that goal now threaten to dissolve into separatist factions.
In other words, there will always be conflict. It’s never-ending. Even if victory is achieved, that victory usually results in unforeseeable shockwaves that result in the creation of new enemies, despite the best of intentions. All we can do is make the best of it. But then again, conflict is a necessary evil. Conflict is what causes alliances, what keeps people strong (giving them a reason to maintain strength), what drives technological and diplomatic development. Conflict continues to allow us to grow as a society, as a race, until we are developed enough and wise enough to finally move on to the next dimension, to the outer rim. One day we may get there, but it will not be today. So until then, continue fighting the good fight.
In regards to the last episode of this season vs. the last episode of season 4, the last episode of season 4 deals with how history will remember important historical figures who have accomplished much. And it’s fascinating to see how opinions change and become more radicalized as the years/centuries go on. How those who were once revered can become tarnished by those who don’t know them yet judge them all the same. Similar to how many now judge the founding fathers of the United States. Season 5’s ending is about giving the protagonist a definitive end. The commander we’ve spent so many seasons with has his last goodbye before moving on. Revisiting old friends and old places, revisiting nostalgia, looking back on his life, before it all ends. While the conflicts may be never-ending, one’s story does end at some point.
We all believe in something… greater than ourselves, even if it’s just the blind forces of chance.
Don’t let the 90s sets and the outdated computer and green screen effects throw you off, this is a very intelligent sci-fi show that understands humanity (who we are, where we were, and where we are going) in many ways. It may take a while to get going, because it’s a show that understands the importance of build-up, of laying the groundwork, of not throwing everything at you so fast that it becomes difficult to follow. The pacing is deliberate.
And it is, without a doubt, the best sci-fi television show I have ever seen in my life. It blows Star Trek, The Expanse, Farscape, and Lexx out of the water. That doesn’t mean it’s flawless. The 90s cheese is still there (especially in the first 2 seasons), the special effects dated (but you can still understand what is going on, and after a while you get adjusted to them), and the acting is of typical 90s tv acting at the time (though many of the actors eventually work wonders with their characters). But it makes up for it with a truly epic tale that has many twists and turns, many complex characters, complex races, complex factions, and complex morals.
It does have that innocence of “the 90s good guys should win” semi-naivety found in most shows from the 90s and earlier, but it is one of the earliest shows that evolved its characters to become morally grey at times. It shows that while some characters stay the same through various scenarios, there are situations that can arise which can cause them to change under the circumstances, and they may not be able to go back to who they once were. Their intentions may start out good, but they are eventually forced to make difficult decisions where there is no right answer. Again, the 90s innocence is still there, but it does enough to go into the grey and dark areas to satisfy the more wise and mature of us.
But that 90s innocence is deceptive, as the show tackles a lot of heavy-handed topics, which are not limited to the affects of propaganda, racism, friends becoming enemies, enemies becoming friends, purpose, mysteries of life and the universe, where we are headed as a race, spying on others, the ethics of being able to read other’s minds (metaphor for government/technological spying), philosophies to live by, the best form of government, what it takes to unite those we have our differences with and the struggles to maintain such unions, the use and misuse of power, our personal ambitions and struggles compared with that of the struggles of all the worlds in the universe, how a religious figure-head can gain an image/reputation that is unwanted, etc. At some point, there’s an episode that deals with one or more of those, sometimes in a thought-provoking manner.
So, great story, memorable characters (especially G’Kar and his memorable sayings, though each character manages to have their own shining moment in that regard), memorable moments, some thought-provoking episodes. It all adds up to a show no one should miss. That being said, they did make a sequel show titled Crusades, but I can’t recommend watching it simply because it was cancelled after season 1, even though it had the potential to be as great as Babylon 5. But I can recommend something else for those interested in a sequel to the series. There is a book trilogy called Legions of Fire which takes place after the events of the series (minus the final episode of Seasons 4 and 5). It doesn’t take into account every dangling plot thread that was in the show (again, the conflict never ends), but it may fill in some plot details people were left wondering about by the time the show ended.
So overall, highly recommended show. There is nothing else quite like it, nor as epic (though Deep Space Nine tried, but that show ripped off this one and it’s overall not as good, so…). I kinda wish I could delve more into this series, but the only real way to do that is by reviewing it episode-by-episode, and I just don’t feel like doing that. Just take my word for it, start with the pilot episode The Gathering, then proceed with the rest of the show until the last episode of season 4; save that for the end of season 5 (just before the very last episode).
Rated: 3 / 5 (might improve sometime in the future when I decide to rewatch this show)
And slowly, you come to realize, it’s all as it should be. You can only do so much. If you’re game enough, you can place your trust in me. For the love of life, there’s a trade-off. We could lose it all, but we’ll go down fighting.
So I’ve been aware of this anime’s reputation for a while now. Some say it’s “the best anime no one has ever seen,” and by no one they mean Americans. Not sure how true that is (personally, I think that reputation should fall upon Legend of the Galactic Heroes, something I have completely downloaded, but have only seen a few episodes so far; didn’t stop because it sucked, just have the mindset, “Let me finish this, and this, and this first, before getting sucked into this.”), as I believe it has gotten the attention it’s deserved since its release, but viewers have to jump through a few hoops to get the whole thing. From what I understand, this only aired on the Sci-Fi channel (was it that far back, or was it SyFy at this point?) for a duration, and the last 15 or so episodes never aired, so most didn’t get to see how the anime would wrap up. Well, I’ve seen the whole damn thing. I won’t say how, but you could probably think of a few ways.
So, how was it? Not too shabby, despite a couple minor caveats here and there; up until the last 5-6 episodes or so when it does this stupid bullshit that a lot of animes do that irritate me to no end. I’ll get to what those are later, but for now I’ll just say they don’t fuck up the show to the point where I wouldn’t recommend it to anyone. Despite its faults, it’s one of the better anime series out there, and it doesn’t run so long to the point where it overstays it’s welcome (I mean, Inuyasha, Bleach, One Piece, holy fuck do those go on forever).
Oh, and there will be spoilers. Just sayin’.
So the show starts out with this master surgeon, Dr. Tenma, who is considered to be the best doctor in the country (the show primarily takes place in Germany, but the lead doctor protagonist is Japanese), conflicted with his choices of whether he should continue to do what his bosses want, healing the patients they demand and thus prioritizing the more wealthy/famous/political over the commoners, or not. The guilt of continuing this trend weighs heavy on him until he decides to disobey orders and do surgery on a young boy named Johan who was shot in the head, choosing to help him over the other more “important” individual. Because of his actions he becomes de-promoted, and his twat fiance (who is the daughter of the hospital president) shows her true colors in that she was only in the relationship for the finances and high position, so she ditches him for another. But the act has unforeseeable repercussions that extend beyond this. Soon after healing the boy, several of the hospital higher ups are killed via poison, leaving nothing in the way of Tenma moving back up in the ranks. And the boy patient Johan, along with his sister (who was admitted due to trauma/shock) disappear.
Years later, Tenma is successful, and glad to be rid of his fiance, who tried to come back to him (bitch, please). However, a patient of his raves and rants about a monster coming for him, and he runs out of the hospital with Tenma in pursuit, only for both of them to become confronted by the monster. The monster, as it turns out predictably, is Johan, the boy patient from nearly a decade ago. Johan kills the patient, spares Tenma, and leaves. Tenma also finds out that Johan is a serial killer, who has been killing many people over the years, which makes Tenma second-guess his philosophy that every life is sacred, and equal, and worth saving. Are there some lives that shouldn’t be held as high as others? Are there some lives that must be ended for the good of others? Well, Tenma decides to change his life, leave his job, and begin tracking down Johan across the country, trying to find him and eventually kill him.
That’s more or less how the opening 10 episodes go. And this is a series comprised of 74 episodes. I began to wonder, “The premise is interesting, but how in the hell can they keep this show engaging for that long of a duration? I’m seeing the setup for intrigue and deeper layers indicating that there’s more going on than what we’re currently seeing, but for another 60+ episodes?”
And the next several episodes began to worry me in this regard. Because despite how the first few episodes seem, this isn’t one of those shows that tells its story in a straightforward manner where we continually follow the lead protagonist most of the time. No. For several episode stretches and different intervals, we are introduced to other characters, and follow their stories, like Tenma’s arc during the first act was just one story amidst a bunch of other stories that encompass a giant conspiracy. In hindsight, this technique worked, but it demands patience from the viewer. There were times where I went, “Ok, this is nice and all, but what the hell is happening with Tenma!?” There are times when we leave him and then get introduced to some girl attending a college for a few episodes; or later on are introduced to some child of a rich man trying to become re-aquainted with his father; or follow a cop who’s a recovering drunk. But after a certain point, they all start to link together.
By the time the series was halfway over, I was down with this style of pacing. It accomplishes something that I desire in a lot of television shows. That the main protagonist is not the center of the universe. There are other pieces in the game that move independent of his actions/activities, who accomplish things that the protagonist is incapable of accomplishing, whether it’s because he’s not in the right place at the right time, or he doesn’t have the skill-set to do this sort of thing (ex: Tenma can’t really fight, and he’s just so-so with a gun, and most importantly he doesn’t know everyone anymore than he has all the answers). Plus virtually all of these other characters are interesting in their own way, thus I didn’t mind so much that I was spending time with them.
By favorite of these side-characters is easily the detective Heinrich Lunge, who pretty much chooses to have no life outside of his detective work, and can become obsessive with solving cases. And he has a technique for doing so. He is able to recall conversations and details with eerie accuracy, like he’s a computer who can record information at will. Yet his method does have a fault. Despite being able to recall conversations word-for-word, another character (who is a criminal psychiatrist) points out that Lunge utilizes this technique in a biased manner. If he has already predetermined a potential outcome, he will emphasize a tone/aura around his recall-ability, such as believing an individual said a line in a certain way (serious, lighthearted, grim, casual, a lie, a truth) when said-individual actually said the line in a different way. Because as objectively-minded as some people try to be, there will always be an amount of subjectivity to how they perceive things. Plus he does all his work at the expense of alienating his family; and there were times where I began to sympathize with this guy and begged for him to go to his daughter, a sign of good writing.
And speaking of multi-dimensional characters, to my surprise, Tenma’s bitch-tits fiance ends up showing a sympathetic side to her, though you do have to get pretty far in the show to see it. And, of course, even the main villain Johan is shown to be multidimensional. There are no perfect characters in this show, no heroes that aren’t infallible, no villains that are pure evil (even if they do their best to convince themselves and others that’s how they are).
Getting into the character of Johan here, he does become a fascinating character. First one begins to wonder just how it is he’s able to brainwash/manipulate others into doing his deeds. Because as we soon find out, he usually prefers not to get his own hands bloody (though he certainly has no qualms about doing so), but rather getting other people to do things for him. Why? What is his end goal? Why is he doing this? Well, honestly, despite the hopes others have for him (there are organizations who have an interest in Johan, partly because they’ve put some investment into him in the past), he seems more interested in causing destruction simply because he likes manipulating others to see how they will all interact with each other, like interfering with the paths a line of ants would take, forcing them to follow different trails and seeing how they will adapt to new obstacles. And he is determined to show that no one really deserves to live, that there isn’t really any value in life. Which is why he became a bit fascinated with Tenma, intentionally bringing him into the game, wanting to see Tenma’s early philosophy on life proven wrong by having Tenma turn that very belief 180 degrees.
He also has an obsession with identity, or more accurately, lack of identity. Because he feels he himself has none. Because he is a monster; because his beliefs were built on the foundation of an obscure kid’s book titled, “The Monster With No Name,” something he was read to during his younger years. On top of that, he was also the subject to multiple experiments done on children, experiments designed to create a new Hitler, ala The Boys From Brazil, but more extreme. The experiments were designed to make the children intelligent, incredibly disciplined, and very acute. The main thing they were taught was on observing their surroundings, and learning how to read people, to anticipate how an individual with a certain type of personality would react to various general situations. Thus the children could grow up to become master manipulators. And lastly, and this is something implied more than anything else (though there are enough heavy hints dropped to convince me), that Johan wasn’t always a male. As a very young child, before he was separated from his sister, he used to be a boy, but due to surgery from the organization, he was turned into a boy (and thus to my shock, this series somehow pulled off an LGBT twist that didn’t come off as forced at all, and it was rather brilliant). It’s at this point that a lot of his questioning of identity and his madness begins to make a lot of sense, ultimately making him one of the more intriguing villains in anime history, with a very tragic backstory. His innocence was lost early on, thus he believed early on that innocence doesn’t exist.
And since he was trained to be a manipulator (though some in the organization admit that he was a prodigy compared to the other children, which is something that was bound to happen), he finds ways to easily manipulate others. Because if you observe one for long enough, you find faults in their character, regrets over sins of the past, or having no regrets and thus being prime candidates for doing evil deeds simply because they enjoy it. There are many faults to be exploited in humanity, and exploit them he does, not for riches, not for fame, but to send a message.
Fascinating stuff, and there are other complexities I haven’t covered yet, but I’ll leave those for readers who wish to seek out the show. And this would be as good a time as any before reading the rest of this, because now I’m going to spoil the ending (moving from spoilers to uber-spoilers). Because the ending is why I currently don’t rate the show higher than 3/5.
It’s not that the final outcome in of itself was bad, it’s just some of the bullshit that was done to get there, bullshit that was easily avoidable. So first off, about halfway through the show, there’s this big muscleman who gets shot and flies down the story of a building and into the smoke below where a fire had broken out. The way they framed this, the way it was shown, an alarm bell rang in the back of my mind, “He’s going to show up again. We didn’t see the life go out of his eyes, so he’s coming back.” That’s anime 101 logic (and most film logic for that matter, but animes pull this shit all the time, and it annoys the fuck out of me because it comes off as insulting my intelligence, what little I have). So I was (not) shocked to see him show up about a dozen or so episodes later.
But that’s just the warmup. During the finale, this bodyguard and Lunge get in a scuffle, and Lunge continues to do this stupid shit that keeps getting bodybuilder to regain the upper hand. One of these actions was so fucking stupid, the anime didn’t want to shame itself by showing it, so it happens off-screen and is mentioned later (you know what, fuck you, seriously). “Oh, I let him live and didn’t bother to handcuff him or anything, which allowed him to tackle me while I was walking down this stairs with my back turned to him. Yeah, it makes me sound like a fucking idiot doesn’t it? Good thing you didn’t see me being a fucking idiot, considering I’m supposed to be the intelligent one.”
And then, of course, there’s the tip of the finale. Where the main protagonist and others are face-to-face with Johan, guns pointed, people wounded, emotions running high. Johan is asking Tenma to end his life, by shooting him in the head. A part of Tenma doesn’t want to do this, because it’s not in self-defense, and he knows that he will be forever changed if he takes a life as opposed to saving one. And no one else really wants him to do this other than Johan himself, though many do want Johan to die because of all the lives he has taken. Long story short, some other semi-random schmuck ends up shooting Johan in the head, which was a lucky shot not only because he had never fired a gun before, but also because he was in a bit of a drunken state. It’s a pure lazy fucking cop-out, and it results in the show trying to give the happiest ending possible, despite everything that happened prior to this, from episode 1 and onward. It would’ve been interesting to see how Tenma would’ve handled himself after doing that, but nope, we’re not going to have any of that.
Plus the whole thing just seems naive to me. And I get what they were going for. Once you kill, you lose an element of innocence that you will never get back. I get it. But the fact remains that if someone had killed this psychopath far earlier on, a shitload of lives would’ve been spared his wrath, and many more would’ve lived. You can talk about losing innocence all you want, but that is why people exist who are willing to lose that innocence to protect others so that way others won’t lose their own innocence, much less their own lives from others who have no innocence left. But fuck that, the anime wants you to feel sympathy for this guy and demands that the viewer hopes for a redemption arc for Mr. kills-a-lot.
So yeah, all that stuff irritated me, and marred what had been a fairly excellent show, making it go from having minor annoyances to major annoyances. But despite that, the show it still good, has some fascinated scenarios and some thought-provoking concepts and philosophies (up until it fucking simplifies them in the last 2 episodes). And it is worth a watch. The things that cause me major irritations may only be minor or insignificant to you. So, there it is.
So you remember a while back when I did a review for both Jumanji movies, and briefly mentioned that there was an animated show back in the 90s? Well, I finally got around to purchasing a copy, and watched the whole thing. It was mainly nostalgia that drove me to revisit it more than curiosity. And how was it? It was a bit of a struggle.