2019 Year End Review - Anime Side

This is the second half of my Favorites list for 2019. If you wanna see my video game picks then refer to the prior blog entry. 

This year had tons of wonderful and great animes, and really reminded me again why I love the medium so much. While my game play time did suffer quite a bit this year I was mostly able to keep up with every anime season of 2019 and really soak up as many shows as I could. There aren’t really any major rules to my list other than avoiding long-running anime a la Black Clover or Pokémon and the like. The only reason for this is so I can focus on the seasonal shows that may get swept away with the passage of time. If I included all the never ending shonen animes I love this freaking list would be crowded to the brim with it after all.

So without further ado, let’s check out some great anime. 

Ahiru no Sora

The main character Sora Kurumatani is an incredibly short high school freshmen with dreams of joining his school’s basketball team. Unfortunately the school’s basketball club is comprised entirely of dangerous delinquents who have all taken over the club and use it as their hang-out because of the school’s policy that every student has to join a club. Undeterred Sora tries his best to get into the club and stand up against the delinquents who run it, and maybe just hopefully help them turn over a new leaf and become actual basketball players in the process.

This has been a pretty fun sports anime, that also veers somewhat into the “yanki” genre of manga and anime too with tons of fist fights, blood, and beat-downs in-between the times the characters do play b-ball. The series really gives off a lot of 90’s anime vibes despite its more modern aesthetic (a great opening theme from the Pillows certainly helps in that regard too) and I’ve been having tons of fun with this one each week. It is scheduled to run for a total of 4 cours so it’s taking its time and really establishing the entire cast so well. And watching Sentai’s dubcast of the anime has been delightful too, I love they really ran with the delinquent characters and aren’t afraid to swear up a storm and drop F-bombs regularly, it’s just tons of fun to listen to.

Astra Lost in Space

The newest series from Shonen Jump alum Kenta Shinohara, Astra Lost in Space is just what you would expect from the creator of SKET Dance: a hilarious romp through space with a great group of characters that all carry heavy emotional baggage. The series really does remind me tons of SKET Dance, except set in outer space instead of high school, and I am all for it. I laughed, I cried, and I racked my brain behind the main mystery of the series. Just who stranded these kids in space, and why did they want them dead? 

The mystery element is perhaps the most unique twist on Astra that sets it apart from most of Shinohara’s earlier works in Jump, and while no Sherlock Holmes or anything, it is still fairly a fun component of the series that pushes the adventures of the young crew of the Astra beyond just being episodic romps. Definitely recommended for anyone who enjoys comedy and space travel stories.

BEM

The newest entry in the long running Humanoid Monster Bem (Yokai Ningen Bem) franchise that started life in 1968 during the yokai boom largely created by GeGeGe no Kitaro’s huge success. The series has definitely played second fiddle to its clear influence Kitaro, but is a fairly beloved franchise that has still gotten multiple iterations of its own. 

What largely separates Bem from Kitaro is its more science fiction based monsters over the old fashion folklore creepies from Kitaro, and the three protagonists of the series: Bem, Belo, and Bela. These three “humanoid monsters” appear almost human enough but are still freaks in a conventional sense and do not fit into society. Despite being shunned by humans they still choose to protect humanity from other monster attacks in hopes that one day if they do enough good deeds they can be reborn as human too and finally fit in.

This newest series places a lot of narrative focus on the titular Bem, the leader of the group, who honestly was never all that fleshed out in part iterations and sometimes even played second fiddle to the younger member of the trio Belo who probably connected to the younger audience more. This really separates Bem from pasts series as it’s a lot darker and more mature. I would really love to analyze all the animes at some point in the future.

Boogiepop and Others 

The previous Boogiepop anime series from over 20 years ago now, Boogiepop Phantom, is one of the all time great A E S T H E T I C animes, with absolutely chilling horror, downright mystifying and confusing plots, and a heep ton of gore. It’s one of my favorites and it’s also entirely non-canon to the original light novels and is instead a stand alone original anime series. So how does the actual adaptation of the Boogiepop books far then? They’re all right. 

Boogiepop and Others lacks much of the aesthetic nature of the original Phantom series, and keeps a tone that is more consistent to its source material. It’s a series that starts a lot slower and is much more down-to-earth in the beginning before revealing all its pieces and getting into the supernatural aspects. Once it gets going however I found I really enjoyed this more accurate Boogiepop adaptation. Shingo Natsume is a fantastic director and the anime is incredibly gorgeous with his adept work on the series, and the general atmosphere is strange and creepy, and fairy creative without ever going full on horror anime.

The Demon Girl Next Door (Machikado Mazoku)

When I read the initial synopsis for this anime; “a young girl wakes up to discover she inherited demon powers and must now fight against magical girls in order for her clan to be lifted from its curse” I almost downright dismissed it and passed on it because I thought it was being played straight. However I gave the first episode a shot out of curiosity and quickly discovered it was actually a comedy series. A huge spoof on the Magical Girl genre if you will. And a damn good one.

What really separates Machikado Mazoku from the rest of the millions of Magical Girl comedies is how sincere its protagonist is and how low stakes the relative series turns out. Yuko, or Shadow Priestess Yuko, or Shamiko for short (a nickname she despises) is such an airhead and klutz. She can’t accomplish anything and instead of fighting magical girls she ends up befriending the only two she meets. This is such a relaxing and fun series and most people probably missed it because of the Hidive exclusive streaming rights.

Dr. Stone

Dr. Stone was always one of the newer Shonen Jump hits I was curious about but never got around to reading–largely thanks to my rule to not touch anything in Jump until I am certain it won’t be axed. So many bad memories. So many manga I loved dying. Ah-hum, excuse me then. Anyways I heard incredible things about the series, especially from one friend in particular and once it got an anime announcement I was so excited. TMS did a fantastic job adapting everything as far as I can tell too, and the anime has been wonderful. 

Perhaps the most impressive thing to me about the series so far is how it isn’t reliant on battles or typical power scaling escalations like a lot of Jump titles are known for. Instead this is a fun adventure series, that largely focuses on science and the power of friendship and I can really get behind that.

Fire Force (En'en no Shouboutai)

Fire Force came on the scene and dazzled everybody early on in its run with amazing production values and insane fight choreography and animation but as the series went on it got a sort of reputation for being fairly bland and not nearly as gorgeous as when it started. And I kind of hate that. I actually thought the series has looked great throughout its entire run–sure maybe some episodes aren’t action packed exploding set pieces, but the general direction and story-boarding in the show is always beautiful and great looking. There’s an expert eye on the lighting, and each scene flows into each other wonderfully. I also greatly respect and love the slower and more somber pace of the episodes–it really lets all the drama soak in, and you get a feeling that this world the characters live in is not great; it’s fairly suffocating actually, even without all the fires. 

As far as the plot goes, well I suppose that is more subjective; I certainly cannot argue that it is a wholly original story with groundbreaking characters, but I will argue that for what it is it works well and is enjoyable. The cast is fun and interesting, and all have great chemistry with each other, especially Shinra and Arthur who easily carry a lot of the show with their constant bickering despite being allies. I am really happy to see it getting a second season next year.

Fruits Basket (2019)

This is the second adaptation of the popular shoujo manga and a very accurate one at that. Pretty much any fan of the series will easily tell you how the original 2001 anime infamously upset the creator so much because of the changes it made from its source material (both big and small) that she denied any attempts at a sequel. It is definitely no surprise that this anime plays its cards incredibly loyal to its source material and it works great because of it since the source material is so good too.

Watching Fruits Basket again was like talking to an old long lost friend. It was such an enjoyable series to have back in my life and hearing Funimation’s almost entire original cast reprise their roles, even Laura Bailey as the protagonist Tohru, was just magical. This is very much a healing series and every episode felt like a weight was being lifted from my soul. I can’t wait for the future seasons, and I love they are going to adapt the entire manga this time!

Gundam Build Divers Re:rise

Another new year, another new Gundam Build series. These entries have really started to become a regular part of Bandai’s release schedule and I am not complaining. Re:rise is a semi sequel of sorts to last year’s Build Divers, a show I put on my favorites list a year ago too. Despite this you thankfully do not need to watch the previous show to fully understand Re:rise, as it is largely just set in the same world and instead has its own original characters and disconnected plot. 

And what a plot it is! Re:rise’s plot is fantastic, and its characters are so much fun with great chemistry. Re:rise’s cast is the oldest group of protagonists we’ve really seen in a Build series which gives it a much more mature tone than all the previous entries, with higher stakes that mean more than they ever have in a Build series. This show honestly on par with the main Gundam series at times and it drew me in so much. I loved every episode and want more, and hate that it ended up being split cour and we have to wait! The last two episodes of Re:rise particularly are huge gut punches that push the show beyond all expectations and really stick with you. This might just be my love for Gundam but this was easily one of the best animes I watched all year.

Gundam The Origin: Advent of the Red Comet

So is this cheating? Technically speaking Advent of the Red Comet is just the original Gundam The Origin OVA series (2015-2018) sliced into a 13 episode TV show format. And I watched most of the OVA back when it was released already too (I still needed to catch the two Loum Arc episodes before this came out though). But goddamn, rewatching all of Origin again in TV show format was so excellent. So I don’t care! This was one of my favorite shows to catch each week, and don’t at me. YAS’ contributions on the Gundam universe simply cannot be overstated, and his work with Origin was so excellent and talented that it gives the entire series a feeling of true cinematic sophistication–something the original cast and crew all desperately wanted when they first created Gundam! 

Also, it gave us the greatest Opening theme of the year and honored the 40th year anniversary of the legendary franchise while doing so. You can’t beat that.

Kemono Michi - Rise Up

In this isekai parody series the protagonist Genzo is a pro wrestler and animal lover aficionado summoned to another world to save it from the Demon King. When told that in order to do so he would have to slaughter countless magical beast he refuses and german suplexes the very princess who summoned him! There’s no way Genzo will ever harm any animal, they are far too precious. Trapped in a fantasy world Genzo makes the best of it by capturing and training all the magical beast and opening up a pet shop so they can find their forever homes. Even more hijinx ensure. 

Kemono Michi is notable for being a new series by the creator of the beloved Konosuba, and it both shows and doesn’t show. Kemono Michi is another isekai parody series but it’s largely its own thing and a lot of humor is pretty different from what you would expect from Konosuba. People coming into the show looking for more Konosuba will probably be disappointed but for anyone just looking for a good laugh and don’t mind how different it really is they will have tons of fun. Genzo and crew are hilarious and the series’ genuine disinterest in the classic save the fantasy world plot is really refreshing. Sure the Demon King is out there slaughtering millions, but that’s not Genzo’s problem, somebody else can get on it, he’s busy trying to run a pet shop of his dreams. 

Unfortunately said pet shop only sells the typical JRPG monsters you encounter and not real animals …

Miss Caretaker of Sunohara-sou

So this might be another cheat as Sunohara-sou did indeed originally air in 2018 however it was locked up in streaming prison and nobody could legally watch it until this year thanks to Funimation’s newest deal with Bibibili. I ended up really enjoying it this year and watched every episode back-to-back with Fruits Basket. As I mentioned earlier Fruits Basket is a healing kind of show and I felt the same for Sunohara-sou. It was a really relaxing and cute show that made me super comfortable and chilled out before I had to go in to work for my worst shift of the week.

MIX Meisei Story

Mix is the newest anime adaptation from the legendary manga-ka Mitsuru Adachi and also a sort of sequel to his seminal work Touch (1981-1986). Set thirty years after Touch and with a largely different cast of characters but still in the same town that Touch took place in, this series is fairly easy for anyone to get into but also extra rewarding for long time fans who will pick up on more smaller things that while not important are there in the background. 

The brotherly relationship between Touma and Souma is what drives the core of the series and much like the twin protagonists of Touch Tatsuya and Kazuya their ambitions to make it to Koushien and play in the Nationals and love for baseball is unmatched. Touma and Souma aren’t just rehashes of the original two protagonists and by in large this has to do with Mix not incorporating a certain major plot twist Touch is famous for but I will refrain from talking about. With all that said you get a lot more interaction with these brothers than the original series and it is simply delightful. 

Mix brings in the classic great character writing, and sense of youth that Adachi is always known for, and he is a true master at writing high school romance and sports manga by this point. It’s been an actual decade since his last anime Cross Game and the wait was worth it. Man, now I just need a Season 2!

Mob Psycho 100 II

MOB IS BACK!!! Need I really say more? The entire staff that worked on Mob is phenomenal, and really Bones is showing the best of the industry with both seasons of this series. But what lies at the core of Mob even more so than the amazing and unique art style and fluid animation is the wonderful character driven writing of indie writer ONE who started his career online and not with a major publisher. ONE is a master at not just comedy but characters. Watching all our best boys grow and learn in Mob has caused me to literally cry. Just the first episode of this season has shown how much Mob has grown as a person and how he is maturing. Mob you’re becoming cooler and cooler every episode, you little adorable awkward dork. 

One Punch-Man Season 2

Man, OPM2 was thoroughly destroyed when it came out earlier this year. I largely definitely understood why though as the production of this season is such a major downgrade in every regard to the amazing work the crew did on the first season and it seems shifting from Madhouse to JC Staff really did harm the series in the long run. I didn’t even bother when it aired in Japanese because of that and have only just recently started to watch it after it got dubbed and put on Toonami. And I have to say … it really isn’t that bad.

Maybe the dub version is using the more finished home video release footage over the original TV airing but I don’t think it’s really at a level of horror story (if anything look at Arifureta from this year too). Is it worse than Season One? Yup. Does that fact suck? Oh yeah. But the same heart is present from the original series in this season. I am surprised how badly it went because I am really loving this. ONE is such a talented writer and seeing his work animated never disappoints, I guess.

Outburst Dreamer Boys (Chuubyou Gekihatsu Boy)

This is another fairly funny series that seemed to fly under everyone’s radar and I assume that yet again the main culprit for this is because of the Hidive exclusive streaming. It’s a shame the platform is easily missed by so many considering its plethora of great content and tons of exclusives it’s been snagging up lately. *ah-hum* I promised I was not paid for that shill just now, sorry. 

Anyways, this is a comedy about a young girl Mizuki Hijiri who just transferred into a new school. All she wants is a normal high school experience but she is unfortunately adopted by the local Hero Club at the school more or less. Now the Hero Club is nothing more than a bunch of chunni boys going around doing all sorts of crazy and hilarious things and hijinks ensue. This is a fairly straight forward premise but largely carried by just how funny the characters are. It’s nice simple laughs that lead to feel good conclusions at the end of almost every episode.

The Promised Neverland

Everything I said about Dr. Stone I can pretty much repeat about Neverland as well. I was so impressed with this series although it started off fairly simple it really grew into something far more sinister and ambitious. The ending of the season I did not see coming, and the creative team behind the manga’s bravery to move past the status quo instead of just milking it for all it is worth is applause worthy. Really looking forward to the next season. 

Speaking of–if you don’t mind the tangent–this must just be the year of Shonen Jump or something, though, am I right? Dr. Stone, Neverland, Astra, wow Shueisha really is killing it this year.

The Quintessential Quintuplets (Go-Toubun no Hanayome)

On the surface the Quints (as fans call it) is nothing more than a basic cut and dry harem set up where one guy has to tutor five beautiful girls who all just happened to be sisters. Like damn I think I might have played this game in high school and it was naughty! But Quints is surprisingly deep and a lot more than just that. It’s by no means a masterpiece in anime romance story telling but I was thoroughly blown away by how restrained it really was and how well written each of the heroines are. This is a really cute series that’s just easy to watch and appreciate it for its simplistic but well crafted story.

Radiant (Season 2)

Radiant is back and is having a much better start than the first season ever did a year prior. This current season has had significantly less filler and is much closer to the manga in its story which makes for an improved viewing experience and is noticeably a lot more mature now. The original season of Radiant struggled with how much filler and changes to the plot and characters it piled on in its early run. That really made the series seem more cliche and simple than it really is and because of that it had a lot of difficulty in finding an audience early on who may have (rightfully so) dismissed it based on those early fumbles. Early Radiant anime somewhat reminds me of the start of the Black Clover anime in this regard, actually. 

It wasn’t until the first season moved on to one of the earlier big picture story arcs in Rumbletown that it really started to come together and let the source material shine through. Seeing season 2 maintain this relatively same quality since its very first episode is promising. The character interaction is much improved, and Seth’s journey only gets more complicated from this point on in the story as he learns more about nemeses, magic, and his own past. It’s a great battle manga finally given some real justice with its anime and I really have been digging season 2.

RobiHachi

RobiHachi is Diet Space Dandy and in a world where Space Dandy is only 26 episodes and that’s it, that’s a good thing! We need more Space Dandy!!!

While not even close to the animation powerhouse of Dandy, or the experimental nature of how it changed directors constantly, RobiHachi is very close in the same sort of style and humor of Dandy. It’s essentially a buddy series where two men Robby and Hatchi end up on a voyage through space together and get into all kinds of crazy adventures along the way. It’s a nice little series that helps fill in the void that Space Dandy left after it ended in 2014.

Run with the Wind (Kaze ga Tsuyoku Fuiteiru) 

Run with the Wind, based off a novel of the same name is a series about a disheveled track and field team trying to run the Hakone Ekiden, a world famous (or infamous) race that is extremely grueling and has destroyed many young athlete and potential Olympic runners sports careers in the past. Despite all this team leader Haiji pursues his dream of racing down this grueling track and will stop at nothing to run it, even if he has to make an Olympic quality team out of rejects and losers. He often butts heads with protagonist Kakeru who views the world very differently from Haiji and thinks he needs to accept reality already and give up this pipe-dream. 

Run with the Wind is utterly fantastic, and a show so many people slept on. I honestly don’t even know why! Because it’s about running, I guess? Really, there is no excuse! What are all of you guys doing missing this show?! What separates it from a ton of the other sports anime peers is a few things, on the surface level there is the University setting and older cast. All the characters are young adults, and plenty of them are 20-somethings at the phase of their lives where they need to find their first real career and figure out how to live. But at the heat of Run with the Wind is a far more serious dialogue about being an adult and facing reality vs pursuing your dreams and what the limit of hard work should mean. This is far more than just a series about running. It’s about the weight of the dreams we all carry with us and the weight of the friendship and bounds we all form. And what weight we should carry and what we should let go. 

This was an incredibly emotional and impactful anime series and I am super happy to see it receiving an upcoming dub next year from Sentai, it deserves it!

Senryu Girl 

This series of short 12-minute episodes was one of the most adorable series in 2019 and always managed to make me smile. Senryu Girl stars Nanako, a girl who because of her incredible shy and introverted nature never speaks and only communicates through senryu poetry she writes. Nanaka hangs out with Eiji, a local delinquent that most of the school fears but is in fact a huge softie and a major fan of poetry–he even belongs to the same poetry club as Nanaka. Together the two write poetry with each other, go on dates, and get into all sorts of adorable situations.

True Cooking Master Boy (Shin Chuka Ichiban!) 

In this semi-remake, semi-continuation of the classic 1997 Cooking Master Boy anime we follow the youngest super chef in all of China Liu Mao Xing, as he takes on the dark Underground Cooking Society who seek to control the entire world through their cooking and beat them at their own game.

I think this series is best described as Food Wars!/Shokugeki no Soma but instead of being incredibly horny it’s a martial arts film. I didn’t really follow the original anime series but definitely plan to get around to finding it after watching this newest series. I really enjoyed all the cooking battles that have been shown and the characters are all excellent.

Vinland Saga

Vinland Saga is an artistic marvel and this anime adaptation fully lives up to its legendary manga’s reputation. 

Every episode of Vinlad was so damn compelling, and this feels like what the previous Berserk series should have always been like instead of the infamously janky CGI animation and knife to the page cutting scripts it got. Vinland is such an emotionally powerful series that can be carried by its own characters alone even during long stretches of episodes that lack the adrenaline fueled action fests for the eyes that it has. Honestly the less said about Vinalnd the better, as it’s an experience you should go into fresh without knowing too much about it. But oh boy, I am still reeling for that finale, it was downright terrifying and therapeutic. 

This is easily a major highlight of the anime industry in 2019.

Wasteful Days of High School Girls (Joshi Kousei no Mudazukai)

I’m starting to notice a pattern where I talk about comedies a lot, but I guess that just is my taste in entertainment, huh? This series is also another pattern too, the Hidive exclusive nobody watched. I know, I know, let’s just get on with a few words about the show. 

Wasteful Days is downright the most hilarious anime of 2019. I guess I ended up saving the best for last, as every episode would have tears rolling down my eyes from laughing too hard. The basic premise of a classroom full of a bunch of weirdos is super uninteresting, and on the surface if you read the description it doesn’t sound like anything special but don’t be fooled. The whole damn series is constantly hilarious and ludicrous. There isn’t a single minute of screen time where you aren’t falling over and laughing at the stuff happening on the screen.

Welcome to Demon School Iruma-kun!

While not as funny as Wasteful Days, Iruma-kun is also another great comedy of the year, and I would be remiss not to mention. The series has a more fantastical element what with it being a demon school in the Netherworld, and poor Iruma, the only human boy in the school is trying his hardest to not stand out and get eaten by all the demons but he just can’t stop being incredible at everything in the demon curriculum somehow. This is a great little funny series, and the dub made by Curnchyroll is equally hilarious. I really recommend it especially for anyone who is a fan of Disgaea.

Mobile Suit Gundam Narrative - One Night Movie Premiere

If you told me ten years ago that I would be able to regularly watch anime movies on the big screen in theatres I would have surely not believed you. Besides maybe a few Pokemon movies or an occasional film in some mega franchise I don’t particularly care for such as Naruto, the prospect would probably seem alien to me even. So it’s funny how times have changed and how anime screenings in theatres is becoming increasingly more common in North America. Just last month I was able to watch the phenomenal Dragon Ball Super Broly film in a packed theatre with a ton of other nerds and it was a delightful experience. Before that I got to see the fun anime version of Die Hard known as My Hero Academia: Two Heroes, and before that a love letter to Go Nagai known as Mazinger Z Infinity! Now only a month after Broly I get to watch an honest-to-God Mobile Suit Gundam motion picture in a theatre too? I feel like the luckiest guy alive. 

If I am being honest, I actually hate going to the cinema most of the time, and spent many years avoiding doing just that. I was always the type of person that was happy enough to rent a movie once it released on DVD/BD and that was the extent I would need out of cinema at large. The only exception I started to make was when Disney purchased Star Wars, and that was more out of fear that ravenous fans online couldn’t keep their mouths shut than it was about anything else. Over the years however I started to develop a greater appreciation towards movie theatres at large and a lot of that has to probably do with anime. As I began to become a serious collector of anime and made the transition from my old DVDs to crisper BDs I realized I was at the point where as a fan I wanted the most out of my all time favorite movies--because these were not just my favorite anime movies but my actual favorite movies, and that’s when I realized I truly wish I could have seen them the way they were meant to be; on the big screen, with an insanely powerful surround sound system, wth fans all gathered around cheering at the best moments. I will probably never get this experience for Akira, or Galaxy Express 999, or the many other films that mean the world to me now, but I can get the experience for future movies, so I don’t want to miss out ever again. 

Gundam is one of my favorite franchises from my childhood. As a young kid I fell in love with the amazing robot designs and was blown away at the prospect of an anime that just felt so different from DBZ, which besides Pokemon was probably my only real understanding of anime at that age. As a teen and young adult especially the franchise became increasingly important to me and left a lasting impression on my psyche. I can’t tell you my favorite Gundam series nowadays because the answer will probably be different every time. Maybe I’ll say the original Mobile Suit Gundam, warts and all, it’s everything I love about anime from the 1970’s and to this day I still love the original Ocean Group dub from Canada. This dub while wooden and showing its age terribly will forever be etched in my mind as the definitive voices for most of the Universal Century characters despite Shuichi Ikeda butterly smooth, ecstasy inducing voice in most of the Japanese series. Maybe I’ll say Zeta Gundam as Kamile was a character my younger self identified a lot with and the series as a whole left a very strong impression on me. Maybe I’ll say Turn A Gundam, a beautiful psychedelic series that displays some of the best writing from series creator Tomino. 

So yes, having a chance to see any Gundam film in theatres was something I couldn’t miss. Even if said film ended up just okay it wouldn't matter, as not in my wildest dreams did I actually think I would get this opportunity. I figured the closest I would ever be to seeing Gundam on the big screen would be if I happened to be in Japan for some reason around the time a new Gundam OVA or film was being screened. When Gundam NT tickets went on sale for North America I bought them the day online orders were opened and was even the first person to buy a seat at the theatre (thanks to reserved seating I could see nobody else had bought a seat yet). It didn’t matter to me that I had to drive 45 minutes to the cinema, nor did it matter to me that I honestly knew nothing about Gundam NT, I just wanted to experience Gundam this way at least once in my life. And so last night I made the trek across the city and finally got to see Gundam like I never have. Now I have decided I want to share some of my thoughts and impressions about it. This won’t be a formal review, nor is it meant to be, as more or less I’m just exposting some of my thoughts, off the cuff.

First a little background information. Sunrise’s current "UC NexT 0100" project that tackles the next century of Gundam’s UC (Universal Century) timeline as well as their ambitious promise to deliver a new theatrical Gundam film every 1-2 years from 2018 onward is something to behold, so it’s no big surprise to me that the first film to kick off both of these initiative would be a sequel to the highly acclaimed Gundam Unicorn OVA series. Saying Sunrise is kind of on a Unicorn kick right now would be an understatement after all. I actually don’t mind this so much however like a lot of people seem to, as Unicorn deserves all the praise it got and there is no two-ways about it being a pivotal factor behind Sunrise’s returning commitment to the UC timeline again after releasing nothing major in it for nearly a decade. Gundam Narrative serving as a sequel to Gundam Unicorn is something I am totally neutral about. 

My greater concern going into the Gundam Narrative film was more that Gundam and films have a pretty rocky history. Honestly most Gundam movies tend to be more on the awful side. If I had to rate all the ones I’ve seen I would probably only say Gundam Thunderbolt: December Sky and Gundam Thunderbolt: Bandit Flower are fantastic, the original Mobile Suit Gundam film trilogy is an excellent compilation movie series and a good enough replacement for its own television version, the Zeta New Translation films are incredibly disappointing and omit too much, Char’s Counterattack is a hot mess that barely makes a lick of sense, Gundam F91 would have been a fantastic TV show but as a movie it makes me sad, A Wakening of the Trailblazer is okay but also undone by its own weirdness, Endless Waltz is what you would expect out of Wing, the Turn A compilation movies are pointless, and G-Savior sure was … a thing that exist. 

Well I am happy to say Gundam Narrative is among the rare films for the franchise that I thoroughly enjoyed from start to finish! A lot of this has to do with the scale being relatively small versus the usual scale in Gundam films that are way too big for their own good. Narrative’s laser focus on chasing after the missing Unit 03, the Golden Phoenix sibling to the two Unicorn and Banshee units we’ve seen in the previous Gundam Unicorn series allows it to tell a story largely separated from politics and the world at large--and let’s the characters become the main focal point of the film like any good movie should. 

This aspect alone is missing from so many other Gundam films and is partly why so many fail at being a good viewing experience. I’d say the few that do find that focus, mainly the Thunderbolt series of films and the original trilogy of movies made from the 1979 TV series are the best in the franchise’s filmography. A ton of other Gundam films tend to be bloated as well with rather boring middle sections, so the brisk fast pace of this 90 or so minute runtime for Narrative was a welcome relief. There are some awkward cuts to the film sure, but honestly I felt this beat sitting in the theatre for two and a half hours bored at the long winded middle section that goes nowhere like some previous Gundam films are especially guilty of. This was just enough time to tell a story of this scope properly. Of course the characters and scope of the story isn't enough to carry an entire film so the fantastic soundtrack from returning Unicorn composer Hiroyuki Sawano helped to sell a lot of scenes in the film as well.

The biggest factor that made Narrative for me however had to the film’s focus on the more metaphysical aspects of Newtypes. Despite my disliking of a lot of Char’s Counterattack I still find the more psychedelic (so to say) aspects of it to be fascinating, just as I always have when such spiritual topics have shown up in prior Gundam works by Tomino and the many teams at Sunrise. While far from perfect I always enjoyed this kind of kooky spiritualism to the Gundam universe, a sort of new age 80’s science fiction interpretation of the soul would be the best way I can describe it but there’s no real way for me to do it justice nor to make it not sound ridiculous. Since Tomino has left a lot of Universal Century Gundam series have focused more on everyday soldiers instead and not so much on Newtypes, the future evolution of mankind, and the soul. In fact I always felt Sunrise somewhat shied away from a lot of these aspect to Gundam since then, so when we got to see this aspect return near the very end of Gundam Unicorn it was a nice treat to me personally. Having it permeate almost the entire runtime of Narrative’s story had me over the moon. A lot of people disagree, and more power to them, but I just can’t get enough out of the spiritual aspects seen in Narrative. 

Gundam Narrative being a modern UC timeline production means it of course has references and lore connections to a ton of other classic Gundam series and moments. I really enjoyed most them even if they were just silly fan service moments. I love that we got to see the famous Colony Drop drawn with modern day high budget animation and it wasn’t just reused old footage. Getting to see clips of the Psycho Gundam ravage Hong Kong City was a joy on the big screen even if it lasted only about 10 seconds. I loved that we got to hear some of Char’s Dakar speech again in Narrative--this gave us an opportunity to hear Keith Silverstein, the modern English voice of Char since 2010 handle this legendary speech of his from Zeta Gundam. Speaking of the English dub my favorite performances were definitely Griffin Puatu’s portrayal of the protagonist Jona Basta that had to carry a lot of the emotional weight of the film and Stefan Martello’s portrayal of the off-the-walls insane Zoltan Akkanen who was just a pure fun villian that ate up every scene he was in. The Narrative Gundam itself being a reworked prototype of Amuro’s Nu Gundam from Char’s Counterattack 4 years ago was also a fun way to fit another Gundam into this time frame and I love it gave us such a classic looking Gundam in the Unicorn era of the franchise. 

I had almost zero expectations for Gundam Narrative, and all I really wanted was the big screen experience for Gundam. As someone that loves the psychedelic spiritual aspect of Tomino’s old works, and someone with zero expectations that a Gundam movie can really be all that good anyways I walked away from that theatre last night loving what I saw. Gundam Narrative has me personally excited for the future of Gundam films, especially if it means we may see more theatrical screenings in North America for said films. This is probably not a film for everyone, and is definitely heavy on both your love of Gundam Unicorn and your love of some of the craziest stuff Tomino would whip out in his heyday of working on the franchise, but if you’re like me I think this one will be a lot of fun, even off the big screen.

Valentine’s Chocolates and Glass Masks

The romance genre in anime is a little weird, and honestly on the whole the majority of the genre in anime is probably a bit too slow for its own good. “Will they or won’t they” is something most romantic fiction is guilty of, but I think you’d be hard press to come across 150 episode TV series dedicated solely to that premise anywhere else. And this has nothing on the pure silliness that can come with the genre; hand holding, indirect kisses, masked secret admirers, all that good stuff. Really, I’m not here to trash talk romantic anime though, but as I sat down and tried to think about writing a Valentine's Day blog post I just couldn't help but think to myself how romance anime might be the hardest to explain to anyone not in the fandom. I mean, I think I’d have an easier time explaining the plot of any given saga in DBZ than I would explaining “Notice me, senpai” to somebody.

You know what though, I kind of ironically enjoy all of this. Yeah, pure romance anime can be cheesy, but it’s just the right amount cheese that it’s like, c’mon, how can you not enjoy this? Perhaps the worst (or best!) offender of this are older shoujo titles where they can seem almost downright like a soap opera at times. Shows like these are just so full of bizarre, off-the-walls, and over-the-top melodrama that they manage to suck me completely in. They’re heartbreaking, they’re engaging, and the times when they fail at being those things they are hilarious. 

My most recent experience with an older shoujo title like this would have to be studio Eiken’s 1984 adaptation of Glass Mask. Now Glass Mask (or Glass no Kamen as it is known by some) is a manga that started life in 1976 and to this day has yet to be finished, with the manga creator Suzue Miuchi stating she would like to finish it soon, but hasn't quite figured out when that will be (move over Hunter x Hunter fans). Having been one of the earlier shoujo titles starting back in the mid-70’s the series is full to the brim with pretty much every cliche and trope you can think of for shoujo anime, and to a modern audience it can often be almost hilarious at times to sit through. It is important to remember that for its time Glass Mask was a trend-setter and arguably if not the creator than certainly the reason why a lot of these cliches became cliches in the first place. Over the years Glass Mask has received its fair share of adaptations and even parodies, and currently has 3 different animes as well as a live action drama series and real life stage plays based on it. I heard the most recent anime, the 2005 TMS adaptation of Glass Mask, does a pretty great job at modernizing several aspects of the series, but unfortunately I have yet to watch that to weigh in so all I can say is that I was inundated with more cliches than I could count and laughed a ton while watching the 1984 series and I loved every minute of it. 

Glass Mask is the story of a young 13 year old girl Maya Kitajima, who has a dream to be a great theatre actress. Unfortunately for Maya she’s from a very poor family, and even more unfortunately for her, she is incredibly average looking with no flair--and don’t worry, the anime will remind you of that fact countless times every episode. Despite her damnable curse of “just looking kind of average” Maya will stop at nothing to pursue her dream and eventually runs away from home after getting a scholarship for an acting school. There, the enigmatic Chigusa Tsukikage notices Maya’s talents and takes her on as her protege. Soon, Maya learns that her mentor Tsukikage was once a legendary actress thought to be truly one of the all time greats who due to a tragic Phantom of the Opera style accident had her face hideously scarred and retreated out of the spotlight. 

Tsukikage is looking to pass on her talents to the future generation and eventually pass on her greatest possession, the rights to the elusive Crimson Goddess play--a supposed legendary masterpiece that has not been seen by anyone in decades; not since Tsukikage’s career ruining accident. For some reason the director and creator of the the Crimson Goddess play saw it fit to beseech all the rights to his masterpiece to Tsukikage and thus nobody else has been able to produce this elusive phantom play since. It won’t be easy for Maya and the Tsukikage acting school, as media conglomerate and mega corporation Daito Entertainment will stop at nothing to get the rights to the Crimson Goddess, and isn't afraid to sabotage them at every step of the way. Perhaps Maya’s greatest rival however is the young Ayumi Himekawa, the daughter of an already famous actress who is said to be the favorite to inherit the Crimson Goddess role, and is everything Maya isn't; beautiful, rich, famous and well loved by all, and while not a student of Tsukikage she is more than willing to pass on the rights to Himekawa if Maya fails to prove herself.

It’s easy to already see the cheesiness just from me trying my best to summarize the basic plot, and we haven’t even gotten into the romances yet. Maya’s relationship with the young Yu Sakurakoji is fairly simple at first, as he helped rescue her from a feral dog and despite being in rival acting schools--one affiliated under Daito no less, he’s a pretty chill guy that enjoys spending time with her and doesn't care about all that stuff. It’s only after Maya starts to take off in her career that Sakurakoji starts to spiral into this insane inferiority complex centered around her, where he thinks she has become too good an actress for him to be around anymore and starts to give her the cold shoulder all because of his own make-believe shortcomings. It’s very odd and sudden, and the entire thing is blown out of proportions as Maya clearly does not think that and Sakurakoji eventually has to be lectured by bad boy Masumi of all people to come around again and start spending time with Maya again. Even though he eventually starts being around Maya again it isn't like the old days anymore and the gap that was created from his action still exist. 

And oh boy, don’t get me started on Masumi, he’s quite the character. Masumi Hayami is the 24 year old son of the president of Daito Entertainment and is currently running the corporation in his father’s stead. Masumi serves as both an antagonist and love interest (because of course he can be both) in the early parts of the story and is often behind some (but not all) the sabotage done to Tsukikage’s acting school. Masumi will eventually take a more reasonable approach when it comes to trying to yank the rights of the Crimson Goddess away from Tsukikage’s hands as the anime progresses, often just by having his acting school beating Tsukikage’s students in contest and the like, and it’s here where we usually see Masumi’s employees that work under him being the more underhanded characters instead of Masumi directly engaging in the conflict. 

Despite being on different sides, so to speak, Masumi catches one of Maya’s earliest performances, her role as Beth in Little Women, and falls in love with the young girl, impressed by both her potential as an actress and her fortitude for going on with the show despite suffering from a dangerously high fever and immediately being rushed to the doctors after the curtains fall. From this point on her takes the role of “Mr Purple Roses” named for the bouquet of purple roses he sends to her at every show. As her secret admirer and the first fan Maya has ever had he means a lot to her yet as his true identity of Masumi he’s an enemy that Maya cannot stand to breathe the same air as. So in short, Masumi is just your average 24 year old CEO of a mega corporation crushing on a 13 year old girl from a small acting school he is trying to ruin and also her secret admirer. Somehow Masumi is one of the best characters in the series, and is my best boy. Only in shoujo!

So far I've been having some cheap laughs at the expense of the 1984 Glass Mask anime but it’s not all like this. The over-the-top bombardment of old school shoujo cliches and the laughs I got from them may be one of the most memorable component of my viewing but there’s actually a lot more to this anime than that. When you get beyond the silly age gap romances and the flowery melodrama of young teenage love, Glass Mask is a story of artists trying to pursue their passions and dedicating their everything to them. Maya may be cursed to forever be “only average looking” but I really respect her drive to dedicate her entire life to theatre. 

Well, that is to say, the times when she isn't acting like punching bag to the rest of the cast (Glass Mask has a tendency to make Maya into a Cinderella surrounded by tons of wicked stepsisters). When Maya is written not as a Cinderella she’s fiercely determined, and never backs down despite some straight-up abusive behavior she is put through. At times her mentor Tsukikage is absolutely savage, regularly beating Maya and putting her through some training that is definitely highly illegal, at least for today’s standards. For instance she once threw Maya in a shed and locked the door refusing to let her out until she finally understood her character she was assigned. Did I mention it was in the middle of the freezing cold winter and snowing out and Maya only had the clothes on her back for warmth? She was out there for days with no food, water, or even warmth. But don’t worry, she had her script to read and that made it all okay. Like goddamn, somebody call child protective services on this lady.

Speaking about “the art” and everyone’s passions, the more you watch the series the more it becomes obvious that the creator, Suzue Miuchi, really cares for theatre and isn't just using it as a vehicle to propel her own story. There are countless renditions of classic plays shown in Glass Mask, such as the mentioned already Little Women, The Miracle Worker, and Wuthering Heights, just to name a few. Some of these plays are presented without any changes while others may have reinterpretations made to them by the characters who are trying to give their roles a life of their own away from the original source material. Miuchi very much understands theatre and does a great job converting many famous plays into a more compressed and easily digestible form of entertainment that can be viewed on a week by week bases. The analysis characters give about the plays and other characters’ performances, the ways characters interpret their parts, and how the plays that we are privy to see in the series end up all show a deeper understanding of the medium. Watching Glass Mask is almost like taking a beginning course in theatre that covers all the classics, only with way more melodrama and over-the-top romance than you will find in your local theatre group. I hope.

What’s the most impressive however goes beyond just Miuchi’s renditions of other classic works and instead are her own plays that she creates herself. As not only does Glass Mask use pre-existing plays it also has its own original productions that will spring up in-between the real world plays. A lot of these self created plays are very enjoyable too, and some feel way more fleshed out than they have any right to be and you often find yourself regretting that you are only privy to a small part of the performance and not able to just sit there and watch the entire play like the characters in the anime do. Maybe that’s why it shouldn't be too much of a surprise that some of the plays Miuchi has created for her manga have later been adapted into real life plays in Japanese theatres. This is probably the greatest testament to the series’ popularity right there, where its own fictional works are turned real. I can’t think of many examples of something like that happening before. 

I’d be remiss not to mention the visual aspect of this series before wrapping up my thoughts on it too. While certainly no powerhouse in animation, Glass Mask 1984 goes for a more picturesque route, and does a great job with tons of beautiful still shots and intricately detailed background images. It’s a humble production but with the right use of lighting a lot of scenes can really shine (pardon the terrible pun it was an accident), especially the night shots which can be pure art. Hang it in a museum, I say. I’m almost surprised we don’t see more “aesthetic” anime blogs mining images from this series. Veteran director Gisaburo Sugii (Dororo, Touch, Osamu Tezuka’s Phoenix) leads the production with skilled marksmanship you would expect from his previous (and future) pedigree, and along with legendary animator the late Shingo Araki (Ashita no Joe, Galaxy Express 999, Saint Seiya) the series has a wonderful 80’s flair to it that just fills any retro anime fan full of nostalgia whether or not they have seen the show before. 

Studio Eiken’s 1984 Glass Mask adaptation is a short, briskly paced 22 episode series that is easy on the eyes and not hard at all to still sit through for modern audiences. It’s full of tons of laughs (both ironic and sincere) as well as tons of melodrama and over-the-top romance. Most importantly though, it’s a full of passion; lots and lots of passion. During its short episode count the series watches Maya progress as an actress and grow older, with her finishing middle school and beginning high school while also balancing full time acting jobs on the side. The ending is left open--and let’s face it the manga hasn't even ended some 35 years later still--but there’s enough forward momentum in the series to really feel like your time with the characters wasn't wasted and that they were able to accomplish something--not to mention the ending spot is a pretty decent one leaving the viewer wanting more but enjoying a satisfying conclusion to one of the more interesting story arcs adapted. Overall I think anyone who enjoys cheesy anime romance can sit down with this series and have a fun Valentine’s.

50 Years of Dororo - Mushi Pro’s Dororo 1969 vs Studio Mappa’s Dororo 2019

2019 marks the 50th anniversary of Mushi Pro’s Dororo anime adaptation, the last anime to be made solely in black and white. The 1969 original Dororo anime is a cult classic, with high accolades from the diehard community and still holds up incredibly well to this day. Yet that didn’t stop Studio Mappa from creating their own adaptation of the manga, which has finally released just this week. So the real question is, how do the two of them compare--well let’s get into it.

But first, a little background. The original Dororo manga, created by prolific manga creator Osamu Tezuka, ran in Weekly Shonen Sunday for about one year, from August 1967 to July 1968, where it then entered a hiatus for a brief period, before finally shifting to the Monthly Adventure King magazine in 1969 where it was serialized for about 6 months (May to October ‘69) and finally “concluded”. I say concluded but the manga mostly just abruptly stops before the characters accomplish any of their own goals, and things are more or less just left open in case Tezuka ever wanted to come back to the series (he didn't). Despite this Dororo has remained to be an incredibly beloved property by Tezuka and seen its fair shares of retellings and adaptations from video games to live action films, and of course to anime.

So now let’s talk anime. The original 1969 adaptation of Dororo was created by Mushi Pro, Tezuka’s own animation studio that he started half a decade back in 1963, and as said above was the last anime to be created solely in black and white. By this point in time color TVs were finally becoming widespread in Japan, and most anime have already started to be created in color. This was not an easy process, and was more time consuming for the production, which is why the decision was made by Mushi Pro to stick to the work pipeline they had and produce Dororo in black and white, a decision that really went on to define the entire series. Mushi Pro's Dororo has a very crisp look, with some great animation for its era, but beyond manages some incredibly terrifying and equally breathtaking moments because of its sharp drawings mixed with the black and white aesthetic. There’s just something about black and white, the atmosphere it creates is otherworldly, just ask any movie buff and they’ll tell you the effects it has on the horror genre is undeniable. I think these late black and white 1960 era anime hold up so incredibly well, and may in fact be even creepier nowadays (the 1968 GeGeGe no Kitaro comes to mind).

Dororo (1969) episode 4: The Scroll of Bandai Part 2

Time marches on however, and after 50 years it’s time for another studio to take a swing at Dororo. Mappa is a small animation studio established in 2011, founded by Masao Maruyama, producer and co-founder of Madhouse, who left Madhouse to pursue his own passions and took some staff with him. Maruyama would later leave Mappa in 2016 unfortunately, but the studio to this day has still been producing hits since. The staff behind their current Dororo adaptation is helmed by Kazuhiro Furuhashi as director, Satoshi Iwataki as character designer, Yasuko Kobayashi in charge of scripts, and Yoshihiro Ike composing the music. Background animation is handled by Studio Pablo. Dororo is produced by Twin Engine, a production company with its main focus being the creators of the medium. Founded by Kouji Yamamoto, Twin Engine wishes to let young artist focus on creating anime, ignoring popular trends instead pursuing only the art of the medium; often commissioning work from studios to keep them financially afloat. Dororo, like a large majority of Twin Engine produced series, streams worldwide on Amazon Prime.

My final aside before diving into some thoughts on how both adaptations compare is that when it comes to adapting Tezuka’s iconic designs to the form of animation there are often changes made. The more Disney-esque look of his drawings can be hard to pull off for action animation, and well, giant noses, and bushy mustaches are well and good, but when you’re trying to sell hideous monsters chomping people into bits, maybe they are not that fitting for this story. That’s why both the 1969 Mushi Pro and 2019 Mappa series have their own takes on the design of the characters. Mushi Pro sorta goes for making protagonist Hyakkimaru more buff, and adult looking, whereas Mappa makes their Hyakkimaru slim and more ikemen. I think both approaches work fine for the story at hand, and are interesting time capsules of themselves for their own eras. 

So let’s compare the first episode of both series!

Both episodes start in a similar fashion, with Feudal Lord Daigo Kagmitsu making a deal to 48 Demons and sacrificing his then unborn son in the process. However even this early on we can see differences between the two adaptations. 

In the 1969 Mushi Pro version Daigo willingly offers up his own son to the demons, and does so for power, asking them to grant him all of Japan under his rule, whereas in the 2019 Mappa version Daigo only offers the demons anything they want in return, never directly giving them his own son, and asks for the demons to give him the power and prestige he will need to rule over Japan. 

At first I felt that Mappa may have made Daigo a bit more sympathetic, him seemingly asking for his own province to be granted protection from disease, famine, and war is certainly something we haven’t seen out of the character, but were perks he does enjoy later in the story regardless. As I ruminated on it however, I realized it’s more of an attempt to round out his character and add some extra depth to him. Sure those may have been great things for a Feudal Lord to ask for, but Daigo really only cares about one thing, and that’s ruling Japan; this has yet to change. Daigo still has no qualms about his own son Hyakkimaru being born a hideous freak and still throws away the newborn baby to die in some river while yelling at his wife to make another one to replace it. 

One Buddhist monk starves to death while bemoaning the state of Japan
while another is slain and bemoans the current state of affairs in Japan.

Then there’s Daigo killing a Buddhist monk. This scene does not exist in the 1969 Mushi Pro version (but Daigo does murder the monk albeit under different circumstances in the manga) and I have quite a bit to say about that. Daigo’s conversation with this monk, again, shows him off to be a bit more well rounded. He’s still selling his soul to the devil, but we can see his own level of commitment to his ambition when talking to the monk. The monk also plays another role that mirrors Mushi Pro’s first episode. In Mushi Pro’s debut episode Dororo comes across a starving Buddhist monk that can do nothing but beg for food and pray, and eventually succumbs to his starvation and dies. Both monks remark about the horrors of the current sengoku era being like Hell on Earth, and are meant to communicate to the audience that this particular time in Japanese history is perhaps one of the cruelest.

1969 or 2019, Daigo is still a dirt-bag.

Let’s talk about Hyakkimaru’s birth as I think it’s a pretty interesting contrast between these two adaptations. In the 1969 Mushi Pro version Daigo already knows his son should be born a monster so upon seeing the hideous freak that is his baby boy, he proudly declares “My end of the bargain is fulfilled!” The demons have accepted Daigo’s offer and he can’t be happier. In the 2019 Mappa version Daigo is not aware of what the demons will take until a bolt of lighting strikes the room his wife is giving birth in. Upon seeing the baby up close (something not seen in the 1969 version until the second episode) Daigo realizes what has happened and orders the baby killed. We then get a conversation about a Buddhist statue that happened to break in the same room. The wet nurse believes it sacrificed itself in order to save the baby, giving a sorta strange implication that perhaps the deal wasn't to take 48 body parts from Hyakkimaru but to take everything from him, including his life. In fact we never really even establish if there are 48 demons, or 48 body parts missing, so the number may vary, and the kind of curse could be different. If that is true, it is certainly a unique approach to the series.

The image of baby Hyakkimaru from Mushi Pro's 1969 Dororo adaptation
is taken from the second episode as it was not shown in the first episode.

Hyakkimaru’s birth between the two versions shows how both mirror each other--we have less subtle writing but more subtle animation in the 1969 Mushi Pro adaptation, and more subtle writing but super over-the-top animation in the 2019 Mappa adaptation. I find this maybe the best way to compare these two anime entirely so far. There is no huge lightning bolt smiting the room Daigo’s wife is giving birth in, in the Mushi Pro version, instead you hear the mother scream in terror upon Hyakkimaru's birth as she breaks down and cries. Daigo and his wife's expressions of horror at the baby is the only clear indication of Hyakkimaru's hideousness instead of just showing the baby like Mappa did. But The Mappa version is trying to give some more depth to its characters, and maybe even to is own world with added bits such as the Buddhist statue maybe protecting Hyakkimaru. Both adaptations seems to have reverse on what they wanted to be subtle about and what they wanted to be over-the-top about. 

In the 1969 Mushi Pro version Daigo and his wife send Hyakkimaru down the river in a basket themselves, where as in the 2019 Mappa version Daigo orders the wet nurse to drown Hyakkimaru in the river, but she pities the baby and places him in an abandoned boat then pushes it down the stream. And then a demon shows up and murders her out of nowhere and is slain by the blind monk Zato (a character that didn't appear until Hyakkimaru narrates his past to Dororo a little later in the story). Yeah, that was a really weird addition to the story Mappa made. It’s certainly more over-the-top and gets a bit more action into an episode that amounts to basically all set-up, so there is that, I guess. Still really weird to see Zato show up like this. 

Both Zota and Jukai don't make their introduction until Hyakkimaru explains
his past to Dororo in the second episode of the 1969 Mushi Pro Dororo.

Speaking of adding in characters earlier than before, Mappa included scenes that would interrupt the episode every now and again that focus on a doctor who gives prosthetics to dead maimed warriors so they can rest in peace. These scenes did not exist in the 1969 Mushi Pro version, which didn't show Jukai until episode 2 where it tells the story of how he saved a baby in the river he found, Hyakkimaru, and gave it prosthetics. 

The introduction to Dororo is pretty similar in both versions, but more drawn out in the 1969 Mushi Pro adaptation. As discussed above with Daigo and the Buddhist monk, there was a scene where a starving monk begs Dororo for food before succumbing to his own starvation and dying, this was not present in the 2019 Mappa adaptation. Dororo gets more time to just do some general hijinks and mess around in town in Mushi Pro's version as well, before finally stealing food from some lowlifes and getting the crap kicked out of him by the riverbank. 

In the Mappa version instead of stealing food from lowlifes Dororo steals their cargo and tries to pawn it but is caught then beaten at the riverbank. I imagine Mappa was just trying to streamline Dororo's introduction here for time constraints so they did their best to get across that he’s a thief while also making sure he ends up at the riverbank right away. Either way both adaptations lead to this slime looking monster appearing out of a pile of garbage in the river and eating the lowlife. Mappa’s more over the top animation has the monster swinging around its arms wildly until eventually grabbing said lowlife and making a snack out of him, where Mushi Pro has it slowly slither on top of the lowlife and then melts him. Ouch, that’s kinda way more messed up. 

The lowlife gets melted by the monster in the manga too.

From this point on both adaptations are pretty much entirely the same, with just differences in animation quality being really all there is to comment on. The fight scene between Hyakkimaru and the slime in Mappa’s version is fantastic, with Hyakkimaru performing incredible acrobatics, jumping all around the bridge and slicing the whole thing up until it collapses on top of the slime killing it, where Mushi Pro … well they did their best, okay. 

The real big difference is that Dororo seems a lot more intelligent when approaching Hyakkimaru in the 2019 Mappa version. Dororo was very quick to notice that Hyakkimaru is blind, and that his body is made up of mostly prosthetics. The 1969 Mushi Pro Dororo ends up getting terrified in the very next episode upon the realization that Hyakkimaru’s eyes are fake (he admittedly popped his glass eyes out of his head though to scare Dororo away).

The 2019 Mappa version has it that the riverbank monster was apparently one of the 48 demons Hyakkimaru needed to slay in order to regain his body parts, this one giving him back his skin. Hyakkimaru was actually born with his skin in the 1969 Mushi Pro version (as well as in the manga), and the monster was not the first demon he needed to kill but just a run-of-the-mil yokai that awarded him no regenerated body parts. Hyakkimaru actually worded it as "the dead", which have no true shape of their own and just latch onto anything, in this case the garbage in the river--thus making the slime monster we saw. Again I think Mappa was trying to kill two birds with one stone and get the audience acquainted with the series quicker since the general plot is essentially Hyakkimaru slays monster, Hyakkimaru grows back lost body part. This was a good way to streamline things, and it was with a body part that he wasn't missing before so it takes away nothing from later parts of the story.

And this is the biggest difference right here at the end of the episode, Hyakkimaru has yet to talk. He may not be able to speak at all until he’s slain enough demons to get this ability back. The Mappa version has so far seemed to point to Hyakkimaru being mute, deaf and blind, and completely cut off from the world. The Mushi Pro version had Hyakkimaru lack his eyeballs, his mouth, and his ears, but he could still speak and hear (just like in the manga). I always assumed it was just his outer ear missing but he still had all his inner ear like his eardrums, and well, you can talk without lips, so there was that too. The Mappa version seems to fully commit to Hyakkimaru being born without all his senses, and if it’s true it will be a super interesting take on the character to be sure. It will also be hard to pull off considering how much he speaks in the original story; he's a very vocal character, so if it is true, until he regains his ability to speak Dororo has to be the one to carry the duo in conversations entirely now which will lead to major shake-ups in the plot.

What do you think of the newest anime adaptation of Dororo. Are you excited to see the classic come back for modern times? Do you wish it was more like the manga or are you enjoying all these attempts to create something more modern with the source material? Do you think Hyakkimaru will speak in the next episode or do you think he's actually going to start the show as a mute? Are you looking forward to keeping up with this new adaptation of Dororo?

PS - Shout out to Mappa for putting a dog into their first episode that resembles Nota, the mascot character invented for the 1969 Mushi Pro series in a vain attempt to prevent children watching it from being emotionally scarred (it probably didn't).