Posted on 8 August 2019 with categories: O Maidens in Your Savage Season, Series which were Dropped

Um, okay. deep breath So, this show introduced a character who’s a walking red flag; a loud, wailing warning sign with the capability of turning any and every potential viewer away. And it somehow tries to humanize him in a way? The show tries to do the near impossible task of explaining his psychology to help us at least understand who he is as a person even if we cannot relate. Even though he is an out-and-out pedophile!! Does it succeed or should you stop watching now? Read on to find out!

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Posted on 5 August 2019 with categories: O Maidens in Your Savage Season, Series which were Dropped

Imagine this. You’re a child. 9 or 10 years old. You don’t know how to talk to people or make friends. You feel lonely so you ask your parents to get you a pet. A puppy. Puppies are really loyal so he’d never leave your side. Your parents tell you wait to wait for some time. Wait you do. Time passes. Years. Everyone else who was a little like you has learned to fit into society. But you wait. Patiently. Diligently. Then, one day your parents tell you that you can have your pet now. But they can’t get you a puppy. Those require too much maintenance. They can maybe get you a hamster or something small. But you don’t want that. You want a dog. It’s your choice now. You can either wait for a puppy or you can be alone.

Hello, everyone. Good to have you back for week 4 of O Maidens in Your Savage Season. Apologies for the late post. I’ve been a bit busy with life stuff. Anyway, getting back on track, this time around, our side characters are fleshed out further and everyone in the cast now really feels believeable and well, real. There’s quite A LOT that happens in this episode. Let’s get to it!

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Posted on 20 July 2019 with categories: O Maidens in Your Savage Season, Series which were Dropped

I hate stereotypes. Mostly because they’re just the viewpoints of people lazy enough to not make the effort to know better. And from personal experience, I can safely say that women bear the burden of facing this almost all the time. Unjustified and stupid as it may be. If you’re a blonde, you must be dumb. If you wear short skirts, you’re loose. If you’re Asian, you must suck at the Queen’s vernacular. And the most preposterous of them all: If you’re a woman, sex must not cross your mind or may even disgust you. And that, is the main theme of this week’s episode of O Maidens in Your Savage Season.

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Posted on 19 July 2019 with categories: Given, Series which were Dropped

Contrary to the common belief, I feel that sunrises are far more prettier than sunsets. That’s because they represent a shimmering, sanguine new beginning. So, with that random fact about me out of the way, Hello Everyone! It’s your girl, Armitage. And today, we kick off and let the metaphorical sun rise on our coverage of the NoitaminA show of the season: Given.

As you all might be well aware, Fuji TV’s NoitaminA block airs series that are aimed towards a more mature audience. But over the last few years, the quality of NoitaminA shows did deteriorate quite drastically. That pattern seems to have changed of late with recent hits like The Promised Neverland and last year’s Star-Crossed AOTY, After the Rain. This season we have another promising new show with albeit a niche target audience but no lack for ambitions, Given. In the premiere, we were introduced to Uenoyama and Mafuyu, our central couple/pair of characters. Uenoyama had resigned to Mafuyu’s persistent demands and agreed to teach him guitar. He had introduced him to the supporting cast comprising of Haruki and Kaji. Let’s jump in to this week’s events!

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Posted on 15 July 2019 with categories: O Maidens in Your Savage Season, Series which were Dropped

To someone on the outside looking in, the anime medium, or what it has become now, comprises of some incredibly good seasonal shows that never become truly great; behind these, we have a slew of solid ones followed by a sea of mediocrity. And all this covers a fifty feet deep pile of crap that everyone should best avoid as anything constituting it is severely injurious to health. That, is the general perspective of your average semi-aware anime viewer. While it is fairly adequate and won’t hinder their anime experience to a major degree, it would also mean that they fail to unearth the true gems of the medium which sometimes don’t get discovered because they aren’t immediately marketable or popcorn-media. And O Maidens in Your Savage Season is one of these gems.

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Posted on 29 April 2018 with categories: Currently Watching:, Wotaku ni Koi wa Muzukashii

Certainly a better episode than the last but I think I have come to an understanding about this show. I don’t think the comedy will work on me quite as well as the manga did. For example, that running joke about Narumi not being able to remember the colour of her panties when she was going to Hirotaka’s apartment had me chuckling while reading the manga. But here I was mostly stone faced as they did it despite the actual events being pretty much the same as the manga. It could be that I simply knew the joke was coming and what it was building to so it wasn’t funny anymore. However I think there may be another factor, one that I can’t quite pin down. While watching I just have this general vague feeling that while the presentation of the is show is serviceable, it feels rather routine. This show doesn’t require a massive animation budget but here it seems we only meet the bare minimum and there is a lot of reliance on still reaction shots. The direction as well just feels uninspired with it following the manga panels and any other content being bland shots with no life to them. People just feel a bit too stiff in this to me and I think they could take notes from KyoAni in how to make characters feel alive with minor actions.

Still while the humor of this show isn’t quite catching me, I find it a relaxing show to chill out to. Really these characters just have great communication and exchanges. Narumi and Hirotaka know each other back to front so they are always on the same wavelength. The only time they seem awkward is when it comes to romance which both of them have trouble incorporating into their previous friendship. Hirotaka doesn’t quite know how to approach Hiromi ending up with is more aggressive moves being too abrupt and not suiting the mood. It certainly was amusing that he invited Narumi over just to play games while Narumi was mentally preparing herself to go all the way. Certainly there is a disconnect between them when it comes to romance as Narumi seems more experienced while Hirotaka seems less and thus he takes things slow while Narumi expects more. Oddly the other couple of the series has the opposite problem, where in romance they seem to get along swimmingly while fighting like cats and dogs when it comes to anything outside of that.

I don’t think I could understand just how someone could put that much work into something like Doujin though. I already struggle with updating this blog and having a job so the idea of taking on making Doujinshi seems ludicrous to me. I got anime and videos game the get through damn it! But man Hirotaka was the ultimate wingman on this and coming through on his promise to help her with it. Again outside of romance these two seem made for each other as each supports the others lacking areas. Though Hirotaka’s denseness did help him not notice that a guy selling BL manga gave quite the wrong impression to people. This episode does show the mangas age as we got people playing Mariokart on the Wii which is rather odd as they did show that Hirotaka owns a switch. Huh. Also Hiro’s stashing his porn at work cause he knew they might search the place was quite clever but what makes it quite odd is that he seems prefers big breasted women and he’s dating Narumi. In the same way that Narumi declared that Hiro wasn’t her type it seems that she isn’t his either. Yet they date despite that. Made all the stranger when the other couple seems to be both their types. I guess you could say that when it comes to love, personal preference isn’t really a factor and I suppose what attracts these two isn’t their looks but the actual personality behind them. Which is rather romantic when you think about it.

Posted on 22 April 2018 with categories: Currently Watching:, Wotaku ni Koi wa Muzukashii

After a strong first episode I come back to this show and find a rather middling second episode. There is some good content here, namely the Evangelion references, one of which was butchered by the crunchyroll translators.(Narumi and Hanako were arguing over who was best girl in Evangelion with notes over their head about whose team they were on. The order being Narumi on team Rei, Hanako on Team Asuka, Taro on team Mari and Hirotaka picking Unit 01 as best girl) But the anime original scenes which were a boon to the first episode have become rather problematic. Case in point, this episode starts with three minutes of Hirotaka waking up, going to the kitchen to play games, attempt to make coffee, realize he’s out of coffee and travels to work sleep deprived.

That scene was too long and while I can certainly relate to going to work sleep deprived due to late night gaming, nothing happens here. It’s more or less filler and I don’t understand why they are dragging out the runtime like this. It could be due to the short number of chapters that they are attempting to pad out the runtime which could be quite problematic. Seeing scenes of characters talking their preferences in manga and whatnot is fine as I enjoy the interaction but it more the other scenes that feel supplementary that bug me. The actual scenes from the manga where pretty good, I got a chuckle out of Hirotaka saying to Narumi that he shouldn’t have told her that he liked her only to realize that he didn’t actually tell her that when asking her out.

I do still quite enjoy the banter though at times it was trying a little too hard for comedy. The animation seems to have gotten rather bare as well and while a show like this doesn’t necessarily need godly animation, it is good for the subtle motion which give these characters life. What this episode basically established is that the other two coworkers also happen to be going out and are big otaku’s as well. Rather coincidental for them all to meet at the same workplace while happening to work in the same room but hey I will bite. Again the general scenes were fine but it felt there were too many moments of nothing happening on screen. I enjoy the characters enough for this episode to be fine instead of boring but going forward we need more content in here. At least so I have something to actually talk about on these episode reviews.

Posted on 29 December 2017 with categories: Anime Reviews, Shoukoku no Altair

It would not be an exaggeration to say that my favorite type of anime is the political-military epic. This comes partly out of my profession, I study war and politics, but also my hobby, as military and political history is something I enjoy. When it comes to anime there is a clear sub-category that can be called political-military epics that covers elements of politics and war. These shows are characterized by some commonalities. First of all direction wise, is the large cast. When your characters are introduced with subscripts for titles, you know you are in political-military epic territory. Second, there is narrator who plays a crucial role in moving the story along.

Story wise the shows can be place into a continuum anchored by the great Chinese epics. On the one side you have those stories which are closer to the thematic of the Chinese “Journey to the West”. Political and Military events provide a backdrop, but the stories essentially focus on the story of a hero within the world. On the other side are stories in which the politics and the military events are the protagonist. There is no real protagonist per se, but instead central characters through which we see the events unfurl. The literary example of this in Chinese cultures is “The Romance of the Three Kingdoms”. Stories that go further and relegate characters to a truly secondary role cross into thematic territory that is more in synch with the ancient Greek history, “The Peloponnesian War”. Anime wise, a recent example of the first type was “Akatsuki no Yona”. Stories in the theme of the “Romance of the Three Kingdoms”, including directly based on it abound in anime, with “Shouten Kouro” being the most recent example in my mind. Finally, “Legend of Galactic Heroes” stands the closest to the “Peloponnesian War”, though it is still anchored around two protagonists.

Due the central role of the politics and military events in these stories, characters are either decision makers, or people who are privy to decisions. This is what differentiates from me the political-military epic, from what I would call only military anime (in which many times the characters are not privy to decisions-for example a lot of the Gundam franchise). Thus are protagonists are ministers, princes, kings, and generals, or the people who put into effect the decisions of such personages.

The two shows I will review here both wish to tell an epic story of politics and war. The Heroic Legend of Arslan (Arslan Senki) is the creation of the author behind Legend of Galactic Heroes, Yoshiki Tanaka. Thus we have a author who has experience in telling such epic tales. The animated version I am looking at is the recent one directed by Noriyuki Abe, based on the manga interpretation by Hiromu Arakawa, of Full Metal Alchemist fame. This is quite the pedigree of creators. There was an older anime based on Tanaka’s work, which I personally liked a lot, but which did not cover much of story (which is in progress). So I was looking forward to this new interpretation. The other show is based on a manga by Kotono Kato, a historian by trade, and is their first work of note. The anime was directed by Kazuhiro Furuhashi who has some solid work behind them, but nothing exceptional per se. SuperWooper reviewed the first 12 episodes, but I decided that show deserves a full review, and he kindly let me take care of it.

Before going into the particulars let me summarize my review. Both shows suffered from a number of issues that denied them the character great, let alone exceptional. But ultimately I felt that Altair promises a lot more, and was able to craft the more interesting story. This was surprising, and to be frank after watching Arslan Senki I wondered if it really was written by the same person who wrote Legend of Galactic Heroes. It is not that it is per se a bad story, but quite underwhelming especially in the crucial area of characters. So let us go a bit more into the reasons for my conclusion.

Story

Ultimately a good political-military epic tells a good story. It posits a conflict that is both expansive and epic, but something that is beyond just a mere territorial spat. In LOGH Tanaka weaved into the story a whole semester worth of political science material ranging from questions about the trajectory of history, the meaning of war, to the relative merits of democracy and enlightened autocracy. I literally use parts of it in my lectures. Altair as a show is much closer to LOGH and the “Peloponnesian War” or the “Record of Three Kingdoms” than Arslan is. The word is more expansive, with many more powers, the politics are thus richer. Both shows try to invoke uniqueness by using as the basis of their world historical cultures that are not the usual staple of anime (or even western media). In Altair our protagonists are part of an idealized Ottoman Empire, active in a world with state that are inspired by ancient Greece, Renaissance Italy, and with the antagonist being a much more aggressive version for the Holy Roman Empire. In Arslan, the titular character is a prince of Pars, a setting inspired by Sassanid Persia, facing a fanatical stand-in for European Crusaders, and surrounded by states inspired by Turkish and Hunnish tribes, and Indian medieval princes.

While both settings work to enrich their regions, I ultimately felt that Altair did a better job of showcasing its world, compared to Arslan. And this is despite its pacing issues it has (more on this later). To put it simply, I found the city -tates, empires and kingdoms of Altair much more intriguing, than those of Arslan. A lot of this might be though that Arslan in its first arc is more like a “Journey to the West” story, focusing on the travels of the protagonist and his coterie of characters. Now, Altair also does this. But here is the difference. In Altair the story of individual travel is well-meshed to the story of the politics. In Arslan it is not. Turghil Pasha in his travels not only to get companions, he crucially meets decision makers and comes to understand, and show us, the politics of his world. In Arslan, Arslan meets companions, and he learns about the world, but he learns by being told about it by said companions, rather than by experiencing it. This was crucial difference.

I also felt that despite the pacing issues of Altair, the political decisions there made sense. That was not always the case with Arslan.

The different approach to the story also meant that Altair could get way with weak characters, while in Arslan they doomed it. In Altair, you could forgive some of the characters because the characters were always enriched by the environment. The cultures of Rumeliana (the Europe of Altair) were all so unique and interesting, that they enriched characters who stood as their proxies. In Arslan that was not the case. In general I felt the story of Altair to be richer, and more intriguing, than that of Arslan. While both had an element of a coming to age story, I felt that Altair was more able to mesh it to the political and military situation. And this helped the characters. Speaking of characters,

Characters

It is unavoidable that with their massive casts, political-military anime while have a slew of underdeveloped characters. As long as those characters are given some singular trait that makes them interesting, and as long as the protagonists are fleshed out, this is not an issue. As long as characters are not caricatures, they can be forgiven a bit of thinness. This is why story and environment play such an important role. This of course cannot be forgiven with the protagonists. A good political-military anime will have multiple protagonists, shared by the two main warring factions, and even more. They will be decision makers, or close allies of decision makers. They will be essentially our eyes and ears into why things happen, and provide some investment in the politics by having their fate and beings tied to it. The problems start when the central characters are either uninteresting, or relegated to a secondary role by the other protagonists. Altair succeeds in avoiding this, while Arslan fails.

Now both Mahmud Turghil Pasha and Prince Arslan share some character traits. They are both seen as politically naïve by others, and they are both struggling to find their place in a complex world. The starting arcs of both anime are focused on their journey to maturity and wisdom. The problem is that while we can see and appreciate Turghil Pasha’s growth, Arslan’s is not as easy to learn. This is not because he does not grow. But his growth is tethered and ultimately smothered by his companions. Too much of Arslan is about Arslan asking his chief strategist Narsus (a bad character inspired for Zhuge Liang from “Romance of the Three Kingdoms”) about what to do. There is a lot of that. As a result, Arslan’s growth is always feeling as pedestrian, predicted, boring. Turghil Pasha is never completely eclipsed like that. His growth is not always predictable, and we always see it in action.

It does not help that by a large the secondary cast in Arslan is boring. Of his companions that only two I found interesting are the warrior Daryun, who is not a rich character, but he is a well done example of the warrior template, and the fun and adventurous bard Gieve. The others did not stand out. This expands to the secondary characters on the side of the heroes. Most are bland, and boring. In Altair, despite the fact that many of the secondary characters are just as “thin”, I did not find them boring. Whether Halil Pasha, Suleiman Pasha, or Kiros and Abriga, they never seemed to hold the show down. The mayors, princes, kings that populate Rumeliana are not anymore developed than the characters in Arslan, but the combination of smart focusing on a specific trait, and their close connection to their cultures makes them interesting.

The issue becomes worse for Arslan when it comes to the question of antagonist. Now it is true that neither show comes close to the almost excellent balance of characters on both sides that LOGH had. But Altair comes closer. To put it simply ad brutally, the enemy in Arslan is boring. You have the always scowling, yelling, always angry Prince Hermes. You have the scheming, scowling, perpetually frustrated Guiscard. You have the caricature coward, scowling Bodin. Indeed there is a lot of scowling and furrowing of brows, and yelling going on. And that that is it. None of these people are remotely interesting. What drives them is boring, and thus their schemes are boring. No great questions can be put forward by such characters, and thus the battle really is more like a black and white fight, despite the continuous talk by characters that this is not the case (for the sake of all that is holy, one of the secondary antagonists chose the enemy side simply because he felt it would not be fair if there is no one on the side of the guy with he himself does not consider ready to be a king!). Hell, the most interesting opponent of Arslan is his frenemy Rajendra, who is pretty much an interesting character because he has a level head on his shoulders. The more interesting questions in Arslan are always about Arslan’s plans for the future of Pars, and that is pretty much an intra-ally discussion.

On a first glance Altair could also be considered weak on the enemy front. If there is one criminal failure for Altair, is that it never invests as much as it should in the enigmatic figure of Prime Minister Louis (a characterized for Machiavelli and Richelieu). This is partly because for a long part of the anime the “antagonist” is the equally interesting Zaganos Pasha. But the show in its second course presents us with an interesting array of Imperial opponents that give us an insight into what drives the Balt-Rhein empire forward. Their motives are much better than those of Arslan’s foes, and between Turghil, Zaganos, and Louis some major questions are put forward about the nature of hegemony, pacifism, and practical politics. The contrast between the perpetually yelling Hermes and Guiscard, and the calm Zaganos and Louis (whose voice actor is great) is in a way the encapsulation of the difference between the two shows.

Direction

Both shows suffer from direction issues. In a way they suffer for exactly opposite reasons. Altair suffers from an insane pacing, which leaves one bewildered about why and how things happen. Characters enter and leave before we have a chance to understand them or their place in the story. Essentially the fact that Altair is an advertisement for the manga can be seen in the terrible pacing, which tries to cram as much material as possible into the 24 episodes. . Arslan on the other hand, has pacing that is too slow, which means we get too much Narsus, being Mr.Perfect (I dislike Narsus, don’t I?), or Hermes scowling (GGRRR GRRRR). The pacing issues in Altair ruin a bit the enjoyment of unraveling the politics behind the scenes. But at least the politics unravels. In Arslan , we go through 36 episodes to just get back were we started, Arslan and companions on a trip.

Speaking of direction, the narrator, which is a character in these shows, was a bit more useful in Altair than that in Arslan. Also despite it pacing issues, I felt Altair was able to create some set-pieces that were quite nice, more often than Arslan. That said there was only so much the direction could do with the animation the shows got.

Animation

Well to put it simply animation in both cases was not something to write home about. While there were some well animated scenes (the fight between Turghil Pasha and Rod Orm, the fights between Hermes and Daryum), in general the animation was lackluster. Massive battles are the bread and butter of these shows and neither did a good job at it. Arslan opted for using CGI graphics, and the battles ended up having a rather Total War Rome feel to them (only TWR had more model variation). Altair, perhaps wisely, eschewed that for mostly still frames and traditional animation. They both get their story across, but there is none of that wow I got from the massive battles of LOGH.

Art

While I like Arakawa’s art I felt it plain compared to that of Altair. In general the world of Altair was more colorful and varied than that of Arslan. The Turkish, and Italian Renaissance basis of the clothes showed in Altair. There were some bad choices (the naval uniforms are too much One Piece like for my taste, and the uniform of the officers of the Balt-Rhein empire too LOGH Empire style) but in general they nailed the look. In Arslan the looks are servisable, but that is about it. One of the other blog commentators said that there was something whimsical in the art of Altair, and while initially I did not like it, it came to grow on me. I believe that if Altair had the animation budget of Arslan it would had been a much more beautiful show.

Music

The Opening and Endings of Arslan and Altair were in general generic and boring. I found the second Opening of Altair the most interesting, partly due to the good direction. When it came to soundtrack, Arslan had the better one, with the track Tenchi Rai Sanka standing out and being well used in the series for memorable scenes (Sher Senani! Sher Senani!). Altair was not graced with a soundtrack that was as good. It does its job, but that is it.

Final “Feel”

Ultimately I felt that the story that Altair tried to tell was a more epic and nuanced story, in a richer world. I felt that the political principles at stake were more expansive and interesting. It is not that Arslan does not have a good question at its center (the nature of kingship). It is more that the story failed to work with it well (since Narsus, has all the answers!). To be fair, nor does Altair really do a good job fully exploring its question. Indeed it more teases it. Perhaps the biggest thing holding Altair back, is that it is an anime conceived as a advertisement for the manga, with all associated issues in pacing, characterization etc. And to be frank it does that job well. Despite my initial dislike of the manga art, I came to be interested in it. Arslan’s issue is much more fundamental. It does not know what it wants to be. Is it a story of development like “Journey to the West”, or a war and political epic like “Romance of the Three Kingdoms”. This is never clear, and to be frank from some summaries I have read of the books not animated, it gets worse, with fantasy elements invading with increasing vehemence.

Thus both shows fail to reach their potential. And perhaps I ask for too much. I mean LOGH had over 150 episodes to develop a sweeping and epic tale. That would be a fair rejoinder. But not in a world with Tanya Senki (Tale of Tanya the Evil). Tanya Senki is also a political-military epic. And despite its short course of 12 episodes, tight direction gave us tale that was rich enough. Tanya proves that you can tell a good political-military epic in 12 episodes. And thus the inability of both shows to do better in double the episode length is disappointing. With that said though, I believe Altair has the promise to tell a tale worthy of LOGH down the way. Arslan less likely.

Final Scores
Characters: Altair Record of Battles: 80/100; Heroic Legend of Arslan:70/100
Plot: Altair Record of Battles:80/100; Heroic Legend of Arslan: 70/100
Art: Altair Record of Battles: 70/100 ;Heroic Legend of Arslan: 70/100
Sound-Music: Altair Record of Battles: 70/100 /Heroic Legend of Arslan: 75/100
Final:
Altair Record of Battles: 75/100
Heroic Legend of Arslan: 70/100

Posted on 9 October 2017 with categories: Series which were Dropped, Shoukoku no Altair

Well, this is awkward. I’m so behind on Altair that even a double episode review isn’t enough to get us caught up. Two months ago, I made the decision to discontinue my coverage of this series once it hit the halfway point, and even though episode 13 functions as the true conclusion to this arc, I’m content to finish things here. There’s no sense in laying out each of my issues with the show – you can read past reviews for that – but to put it broadly, the entire production feels hurried, and not just in terms of its breakneck narrative speed. There’s some good dramatic material in Altair’s story, but in the hands of a conservative director and an overworked studio, it rarely came alive for me. There was a big exception to that rule in one of these two episodes, though, so let’s talk about it… after refreshing ourselves on the details of the anime.

Several weeks ago, we left off with a plot to assassinate the sultans of the Turkiyean territories, who would all be in one place thanks to Prince Orhan and Aishe’s wedding. Now, word of this plan makes its way back to the Divan in Turkiye, who send a pro-sultanate representative to the ceremony. The envoy makes a pit stop at Balaban’s doorstep, however, and spills the beans regarding the trap waiting for him in Kuluch. Armed with this information, Balaban (and the other sultans) choose to march their armies to the wedding and conduct a preliminary strike against their would-be killers. But this leaves their territory undefended, and Zaganos quickly moves to seize control of their major cities. The show later frames this as a cause-and-effect scenario, and given Balaban’s blinding pride, it kind of is, but I do wonder what would have happened if he had refused to attend the wedding. The political fallout from that disrespect is nothing compared to the potential loss of your country, or even your life. Uzun, in particular, should have called in sick on invasion day – his only interest ought to be the completion of the trade route that would secure his nation’s financial independence from Turkiye.

All of that aside, “The Prince of Swords” gets good right at the end, when Orhan’s father goes back on his pact with Mahmut. Fearing for the safety of his people if the bloodthirsty Balaban breaks into the city, he attempts to kill Aishe and offer her head as a gift to him. Orhan, driven by love for his bride-to-be, kills his father to save her life. What makes this an especially remarkable move is that, earlier in the episode, he had learned that Aishe was in love with her uncle, and had no desire to be married. This is a character who was played strictly for laughs until this point, so when he came before his royal guard and confessed to the murder, decrying his father’s cowardice and proclaiming his own ascension to the throne, I got chills. Whoever provided Orhan’s voice did a fabulous job with this material – I almost looked to see who it was, but then decided I don’t want to associate that performance with any other characters. Even though I won’t be watching beyond these episodes, I hope that Orhan has some part to play in Turkiye’s post-rebellion landscape.

Speaking of the rebellion, most of the second episode is dedicated to the military struggle between Balaban’s forces and Mahmut’s. Though our heroes are outnumbered 4 to 1, Balaban brings only 5000 men into battle, not wanting to lessen the glory of his victory with superior numbers. This turns out to be his undoing, as Mahmut is able to eliminate most of his troops before luring the survivors into a narrow valley. It’s in this remote setting that Beyazit’s trump card from last month is finally put to use, as his musketeers use their revolutionary firepower to pierce the shields of Balaban’s strongest soldiers. As for the Red Tiger himself, he dies in his brother’s arms, despairing at the fact that the only person who truly loved him also helped to engineer his downfall. There were several flashbacks to younger versions of Balaban and Beyazit throughout these episodes, and while none of them particularly moved me, they did establish the two men as fated opponents, despite their affection for one another as children and young adults. Balaban was too big and too colorful a character for the rigid world of Rumeliana, so if he had to go, at least it was with a bit of nuance.

That’s it from me where Shoukoku no Altair is concerned. There’s still another cour to go, so if you’ve been enjoying the ride, I hope the show stays on course. The new fall season has produced a handful of worthwhile shows so far, so I’m itching to start blogging one of those instead. Whichever series that ends up being, I hope you’ll stick around as we transition to a new story and a new set of characters. Thanks for reading.

Posted on 17 September 2017 with categories: Series which were Dropped, Shoukoku no Altair

This was the busiest episode of Altair yet, with a script that pinballed between Turkiye’s four stratocracies, introduced a handful of new characters, and chronicled the formation of both alliances and rebellious plots. To try and recap everything that happened this week would require hundreds more words than I’m willing to expend, so let’s assume we’ve all seen the episode and jump to its most important reveal: Beyazit’s demonstration of the musket’s power just before the closing credits. These last few moments marked the first time in a while that Altair has kept my full attention – it was a great choice to cut the background noise and put reverb on the sounds of the gun being loaded, then raise the orchestra after its firing. As the music indicates, the introduction of handheld firearms into this world has history-altering implications, which is lucky for Team Mahmut, since he’s been tasked with leading revolutions in all four sultan-led territories. Beyazit claims to have 77 of these deadly weapons at his disposal, which is enough to convince an important new character to join forces with him.

That character is Ismail, prince* of Buchak, which is perhaps the most important of the four stratocracies, narratively speaking. That’s because of the trade route its sultan Uzun is constructing between his country and Balt-Rhein, which has promised to support them after they break from Turkiye. This road is the key to Buchak’s financial independence, which means the coup that Mahmut is engineering must succeed before the route’s completion. Ismail’s willingness to betray his father, though, should give our plotters an advantage in their dangerous game of thrones. Another of their allies, Aishe (princess of a different stratocracy – how nice for Mahmut that these connections have fallen into his lap), concocts a plan to gather all the sultans in one place. She’s engaged to be married to Orhan (yet another prince, this time of Kuluch) and proposes to his father that he announce a date for their ceremony, which ought to be attended by all the people that Mahmut aims to take down. The masked sultan Selim, who only submitted to the Empire for the safety of his country, agrees to Aishe’s gamble, and thus anime’s version of the Red Wedding is set to occur within an episode or two.

(* Although the show uses non-Western titles for its stratocratic royalty, I’m opting to use familiar terms for my own sanity. The subtitles I’m reading are inconsistent with their terminology and spelling in the first place, so this makes things easier for me.)

That’s enough plot summary for this week. Let’s talk about fight scenes – specifically, the one that opened this episode. Rod Orm have never been especially threatening on a small scale, but Mahmut still managed to look like a badass here, calling Iskender to claw open one flunkie’s back and slicing another across the chest himself. Watching a newly one-handed Eleanor plead for her life was satisfying, especially since it gives us the sense that both Mahmut and the show have undergone a significant evolution. The former general isn’t taking prisoners at this stage in the game, especially with a shot at redemption in Turkiye on the line. He does let eyepatch girl escape, but Altair can hardly afford to give her another second of camera time, given how quickly things are moving elsewhere in the world. Blood is about to be spilled in Kuluch, and with time running out for the rebellion, no one is exempt from the dirty business of killing.

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