Category Archives: anime

The Unbearable Weight of the Past: Space Battleship Yamato 2202

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I consider Space Battleship Yamato 2199 to be perhaps the best franchise remake ever. Outside of legacy and possibly 2D vs. 3D animation preference for battles, it improves on the original Space Battleship Yamato in virtually every way. A more interesting and diverse cast of characters, greater complexity in the politics and messages, and a more cohesive narrative all come together with the benefit of decades of hindsight.

Space Battleship 2202 is the direct sequel, and is based on the second TV series, Space Battleship Yamato 2. It centers around the battle against a massive militaristic force from beyond the stars: the highly destructive Gatlantis, also known as the White Comet Empire. Per the title, it takes place three years after the Yamato’s desperate and harrowing voyage to the far-off planet Iscandar to obtain a technology that could restore the Earth’s environment. 

Unlike with 2199, I have never seen the Yamato 2, and thus have no direct comparison for what 2202 adds to the story outside of what I can read online. As I started (or rather restarted) 2202, I had my worries. It had been around 10 years since I watched 2199, and due to numerous major world events, my philosophical beliefs have changed in various ways. Given that the series is literally about a gigantic Japanese battleship fighting aliens, might it carry some questionable ideas that I’d notice more easily now? As I kept watching, however, I found that 2202 assuaged these fears. Every time there was something that made me raise a proverbial eyebrow, the series would approach a topic with nuance, give no easy answers, but also criticize outdated ideas about things like race and gender.

The biggest example of the show taking on topics smartly is in its handling of the Wave Motion Gun, the ultra-powerful signature cannon of the Yamato that is capable of devastating entire planets. At the end of 2199, the crew of the Yamato made a promise to Starsha of Iscandar to never use it again. However, the greater Earth forces see things differently, and are revealed to have been building more vessels with Wave Motion Guns. And while the protagonist, Kodai Susumu, believes strongly in their promise to Starsha, keeping it in the face of an overwhelming enemy becomes increasingly difficult—especially when the lives of his allies and their loved ones are at risk. 2022 portrays the fact that this dilemma is anything but black and white, while also pointing out that even if such decisions can be justified, it can still take a mental and emotional toll on those who have to make them.

I also had concerns that Gatlantis, an alien civilization for whom the word “surrender” literally does not exist, might be portrayed as savage barbarians. But when they’re revealed to originally be created as pretty much military livestock—soldiers thrown on the battlefield to keep their masters safe—it’s clear that the Gatlanteans are themselves part of a cycle of victimhood and exploitation that has robbed them of their humanity. And far from treating this as the problems of others, 2202 also shows how the Earth is very capable of making the same terrible moves when they begin developing AI-powered armed forces.

And then, when the show tries to give more background on Desler, the former supreme leader of Gamilas and the main antagonist of 2199, I was worried that it might fall into the trap of redeeming an imperialist dictator just because he had a tragic past. Yet even here, 2202 avoids that pitfall. While we already knew from 2199 that the Gamilas homeworld was dying, we learn that based on the highly racist Gamilan culture (where the pure-blooded rule society under the assumption of inherent superiority), Desler made the decision to become a conquering force for a significant reason: he believed it was the only way his people would accept finding and migrating to another planet. It does not absolve Desler of his crimes, but it has parallels with Susumu’s struggles with whether to use the Wave Motion Gun.

My only complaint about the series is a very biased one: There wasn’t enough Niimi Kaoru, the bespectacled science officer from 2199. She makes a few appearances but is mostly a non-factor, aside from being a small part of a later plot point involving a special battleship and a weird plan to prioritize childbearing women in case of an emergency. Here as well, I was concerned 2022 might be pushing some sexist agenda about the importance of women as mothers, but even that panned out better than I feared.

Space Battleship Yamato 2202 ultimately ends up being a narrative centered around difficult ultimatums. At the same time, however, it also questions why sentient civilizations (whether terrestrial or otherwise) keep putting themselves in situations where people have to make such soul-crushing decisions—might the root causes be matters more systemic? Could something not be done about that instead? Much tragedy could be avoided if we cherished one another’s humanity.

MF Ghost and the Passage of Time

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One of the Fall 2023 anime I had been anticipating was MF Ghost, a sequel of sorts to the famous downhill street racing series Initial D. While I’ve never been a car person, I could never deny the excitement the series brought me, nor the clear influence Initial D has had on car culture in Japan and abroad. But MF Ghost takes place in a speculative(ish) future, and the differences between it and its predecessor remind me of just how much technology has changed in that time.

MF Ghost is set in a time when environmental concerns (including volcanic eruptions in Japan) have made it so that most motor vehicles are electric and self-driven, and the only traditional cars are used purely for sport—particularly a legalized version of street racing known as MFG. It has fans worldwide, who can watch thanks to drones streaming live feeds, and it features cars from around the world rather than just Japan.

The drones following the cars, and the fact that everyone watches remotely, highlights the fact that a very visible aspect of Initial D is not present in MF Ghost: the crowds of onlookers watching the races in person. While there might be technical reasons for this (perhaps the author just didn’t want to draw them), I think it also draws a huge contrast with Initial D because of the latter’s time frame. In other words, when Initial D debuted in 1995, cell phones were still a pretty rare sight, let alone phones that could display video (that wouldn’t come for another four of five years). Sure, one other big factor is that the racing in Initial D was technically illegal and would never have big broadcasts regardless of technology levels, but the in-universe gallery for these mountain races wouldn’t even have the opportunity to be a live audience in any reasonable way.

Plot-wise, Initial D starts in the 1990s and ends only a year or two after the start, so all the tech remains of that era despite the fact that the manga ended in 2013. As a result, the jump to MF Ghost represents over 20 years of change at the very least. It’s wild to think about.

I referred to MF Ghost as “speculative,” and I meant it in a fairly tongue-in-cheek way. “What if the future had cool races using known car brands like Toyota and Ferrari” isn’t exactly the height of creative imagination or science fiction. However, there is one aspect of MF Ghost as a story set in the future that warms my heart. In Initial D, the character Takahashi Ryosuke (adversary turned mentor to the protagonist, Fujiwara Takumi) loves street racing more than circuit racing because of how unpredictable it can be and how there are elements beyond the drivers’ control. Now, the same mountain racing that was relegated to a select few enthusiasts has become a household name. Isn’t that grand?

Attack on Titan: The Final Conclusive Ending Denouement

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“Why I Like Eren Jaeger.” That’s the title of a post I wrote 10 years ago. 

A lot of things sure have happened since then.

The anime Attack on Titan recently concluded after what seemed like an eternity, and we the viewers have been left to interpret Eren in his entirety, from the hotheaded protagonist he was at the beginning to the apocalyptic villain he becomes by the end. Given all that has transpired, not least of which includes mass genocide, can I still say that I “like” Eren?

WARNING: SPOILERS OF THE END OF ATTACK ON TITAN AHEAD

Obviously, I can’t condone genocide no matter how it might have come from a place of wanting to protect his friends, or even if the alternative was a different form of genocide. But the reasons I was fond of Eren as a character ten years ago had little to do with anything like moral and ethical values or good decision-making. Instead, it was because he’s a deeply flawed character with some genuinely positive traits—namely his ability to motivate others through the sheer force of his ceaseless drive to press ahead. 

In 2013, this is what I had to say:

I see Eren as the kind of guy who makes people better than him feel worse for not accomplishing as much…. This is mainly what drives his relationship with Jean, as Jean is clearly smarter, wiser, and comparable in physical ability to Eren, but lacks his ability to throw himself into danger. On the other hand, Eren’s narrow-mindedness is the reason he can’t accomplish everything on his own, and…if he were a leader of men…he would probably send them all to their deaths just by being himself….

The result is that the Scout Regiment (or Survey Corps), a group infamous for being full of eccentrics with death wishes, gains and benefits from one of the most rational and reasonable individuals. At the same time, it means Eren has always been someone who needs others to keep him from being a living train wreck.

This is not a defense of Eren but an understanding of his relationships and the effects he has on people who are better than him. He inspires others to do what they thought impossible or inconceivable. Nowhere is this more relevant than with his closest friends, Armin and Mikasa. He pushes them to achieve greater heights through the example of his will, and this remains true even as Eren turns them against himself.

Eren, Mikasa, and Armin are parts of a whole, and it’s a relationship that persists even in opposition. I think that Eren purposely pushes his friends away because he knows they have what it takes to stop him. Similar to Dr. Manhattan in Watchmen, Eren becomes able to move in four dimensions, and this ironically makes him unable to challenge fate. But Mikasa and Armin are not beholden to such cursed omniscience, and they ultimately defeat him and help remove the titan ability from the entire world.

Mikasa killing Eren is not only one of the most powerful scenes of the finale, but a key moment in the series as a whole. The presence of titans in their world for 2000 years is because Ymir, the Founding Titan, is trapped by her undying and contradictory love for King Fritz, her longtime master and abuser. Despite knowing how much Fritz saw Ymir as nothing more than property, her feelings keep her loyal out of a desperate need for human connection. Seeing Mikasa behead the love of her life for the sake of the world shows Ymir that it’s possible to break the mental and emotional chains binding her. And all of it comes back to what made Mikasa fall for Eren in the first place, back when they were children: When others would have said to run, Eren implored her to fight. He pushes others to not give up, even if it means he himself becomes the enemy. 

So the answer is yes: I still like Eren Jaeger for the mess that he is. I can’t support the consequences of his actions, but the story of Attack on Titan is very much about the ugliness of humanity, and in many ways, Eren exhibits some of its worst qualities. However, much like how there are glimmers of hope that flicker in and out amid despair, he casts a light on others and gives them power, however great or small, to do more—even as he himself is subsumed by darkness. Ultimately, he ends up being a unique protagonist turned antagonist, a child given far too much responsibility and burden, a cautionary tale of why you don’t have to automatically cheer for someone just because they’re the main hero, and a figure remarkably complex because of his profound limitations.

When Am I?: Ogiue Maniax Status Update for November 2023

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We’re at November already?! I really can’t believe it’s this close to the end of the year when the summer months felt like forever. New York Comic Con is in the rear-view mirror, Anime NYC is up ahead, and I’m still struggling to keep up with the anime that’s out this season—including the long-anticipated Pluto (aka one of the best manga ever).

Due to a combination of a busy schedule and my silly brain, I’ve actually been struggling more than usual to write about anime and manga. I can’t seem to read manga fast enough to satisfactorily write about series I’ve been reading, but maybe I should just deal with it and write even after reading just a single volume.

It might also be because I’ve been diversifying my media choices (and watching a bunch of VTubers), but I feel it important to keep Ogiue Maniax as primarily an anime and manga blog.

Thanks so much to my Patreon subscribers for November:

General:

Ko Ransom

Diogo Prado

Alex

Dsy

Sue Hopkins fans:

Serxeid

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

Blog highlights from October:

Reminiscing About Right Stuf in Its Final Days

Farewell to the best online anime and manga shop ever.

New Frontiers with Old Lessons: Hololive Advent and ReGLOSS

Some thoughts on the recent Hololive groups that have debuted.

The Emergency Heteronormative Character

Thinking about a longstanding trend in the world of anime and manga.

Kio Shimoku

More Kio playing Elden Ring.

I also dedicated a post to his Star Wars parody!

Closing

I am actually extremely excited to watch Pluto. Even if you know nothing about it, it’ll probably be worth checking out.

The Emergency Heteronormative Character

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There is an archetype in anime and manga that I’ve begun calling the “Emergency Heteronormative Character.” 

In the beginning, many manga creators do not know where their comics will end up. Rose of Versailles was supposed to focus a lot more on Marie Antoinette than Oscar. Kinnikuman famously began as a superhero parody before it turned into a full-on wrestling manga—and all because its authors, Yudetamago, really got into the latter. A single storyline in Yu-Gi-Oh! about a trading card game permanently altered its entire trajectory. I think the same thing happens with series where character relationships are important.

Some love triangles know exactly who the end girl will be, whereas others might not arrive at an answer immediately (or ever). But I have also seen series where a particular character, usually a minor one, seems to exist just in case, as if above them is a message that reads “Break Glass if Heternormative Romance is Necessary.” 

I have never read Slam Dunk, but I’ve heard about Akagi Haruko: the female love interest of the protagonist, Sakuragi Hanamichi. She is a fairly important character at the start (being the one to spark Hanamichi’s entry into basketball), and she’s even the focus of the anime’s extremely beloved first ending sequence. But over time, she recedes into the distance because the dynamics between the players themselves are what really draw people in. 

The appeal of shounen sports series for shippers plays right into this pattern. Whether it’s Prince of Tennis or Yowamushi Pedal, there often seems to be a girl character who is like an anchor on the port of heteronormativity, allowing a manga creator to double back if need be. Even Saki has some of this energy in the earliest volumes. The character of Koutarou began as the sole male member of the mahjong club, acting as a potential male audience stand-in to witness the girls in their nonchalantly risque glory.

BL and yuri potential often drive a good deal of the relationship interest in series like the ones mentioned. However, the Emergency Heteronormative Character can even exist in series that are pretty heterosexual too. In Rokudo’s Bad Girls, you have Tsuyukusa Mizue, the only non-delinquent girl in the series. She’s meek and cute, and always worried about how the main character Rokudo seems to be turning to the dark side. And while the anime is on an accelerated timeline, the early part of the manga makes it pretty clear that she could have been Rokudo’s “saving grace” if the series had gone a little differently.

Emergency Heteronormative Characters aren’t automatically bland, and they can be fun and charming in their own right. That said, they often feel like the product of an author hedging their bets, and they typically shine less brightly because they are simply not meant to be in the spotlight as much. I also have to wonder if these characters exist on some level for in case a title needs a quick romantic conclusion should things need to wrap up quickly. However, as we further leave the era where nice and neat heterosexual relationships are seen as necessary, maybe the archetype will have to evolve into something else entirely.

Why It’s So Hard for Shounen Battle Manga to End on a High Note

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The author of One Piece, Oda Eiichiro, once stated that he always wanted to make a manga series where the ending is the most exciting part. Right now, it looks like his flagship series could very well be heading in that direction. However, when I thought about whether this is possible, I couldn’t help but think about the fact that the graveyard of shounen manga is strewn with series that failed to hit that goal—if they even had a chance at all.

So many shounen manga, particularly popular battle manga, usually peak well before the end. While taste is subjective, I think it’s a common opinion across various titles. In Kinnikuman, the tournament to determine the king of Planet Kinniku is actually pretty good, but it kind of pales compared to the Akuma Daishogun arc. Fist of the North Star peters out after Kenshiro’s climactic clash with Raoh. Naruto and Bleach have many possibilities as to the best arc, but it’s definitely not their finales. L in Death Note is remembered far more fondly than other rivals. Even with Oda’s beloved Dragon Ball, Majin Buu is not usually the villain people would regard as the best or most memorable.

That’s not to say it’s impossible. Two answers I received when I asked on Twitter were anything by Fujita Kazuhiro (Ushio & Tora, Karakuri Circus) and Yu-Gi-Oh! Funnily enough, these two examples also came up in a private conversation I had on the same subject. Nevertheless, the odds are not in One Piece’s favor.

The reason for this hurdle is pretty simple, I think: Most successful shounen series end up getting somewhat zombified, as they’re expected to keep going for as long as they’re popular in the hopes of bringing in more readers. No matter how creative manga authors might be, or how well they can plan, it just gets increasingly difficult to run on all cylinders. On top of that, even if an author has a brilliant ending in mind, they might still get canceled early, or their attempts to force a finale are ignored. Toriyama, for example, clearly tried to finish Dragon Ball in the Freeza and then the Cell arcs, only for the manga to keep going.

One big X-Factor is that Oda is on another level in terms of long-term planning. His signature series is basically an armory full of Chekhov’s guns situated next to a clothing store dedicated to alternating shoe drops. If anyone can pull it off, it’s surely him, but when your manga has been going on for almost 30 years (!!!), that is a whole lot of anticipation to live up to. Good luck, man.

So…Can you think of any shounen battle manga that was at its best and most exciting by the end?

Reminiscing About Right Stuf in Its Final Days

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In August 2022, the online anime and manga store Right Stuf was sold to the massive anime streaming and licensing company Crunchyroll. Now, Right Stuf has announced that it will cease to exist and its contents will be integrated into the Crunchyroll Store as of October 10. With that comes what I (and apparently many others) believe is the end of an era. I haven’t felt quite this way since Geocities closed.

I first learned about Right Stuf Anime around 2005 or 2006, and have been a frequent customer ever since my first order: Eureka Seven DVD Volume 1. At a time when I didn’t have much disposable income, the sales they had on the regular were a great way to get more for less. Those sales were often based around a single anime or manga publisher, so it also became a practical method for familiarizing oneself with what a particular company had to offer. Although my memory is hazy, they might very well have been the first site I bought anime online from (It was either them or Deep Discount DVD).

Right Stuf didn’t always necessarily offer the absolute best deals. For example, in the time it existed, Amazon grew into an even bigger juggernaut of online retail. It wasn’t uncommon for items on Amazon to be better priced, but I stuck almost entirely to purchasing on Right Stuf because the company showed a lot of care for its products in so many ways. You almost never had to worry about damaged packaging, and they even went out of their way to eliminate the use of plastic and make it more environmentally sustainable. If you bought an item the day before it was part of a sale, you could email them and request the order be revised. And at the end of the day, the sales were still really good. 

Not everything was rainbows, of course. I once had a package go missing and had to jump through a ton of hoops—including filing a police report—but the positives outstripped the negatives by a country mile.

Another strength was that the company always maintained something of an old school feel. A lot of the American anime culture over the past 15 years or so has been to incorporate more and more aspects of general geek fandom/media, and while those things are great, they can often overshadow the anime and manga aspects. The fact that Right Stuf was still dedicated primarily to Japanese pop culture after all these years (while still incorporating that more general fandom) was something I really appreciated. 

I’m definitely concerned that without the Right Stuf brand and the weight of the customer expectations its fans expected, the savings just won’t be the same. I’ve looked at the Crunchyroll Store, and while I won’t knock them for providing merch in an easily accessible fashion, I never once thought of buying from there as long as Right Stuf existed. And even though I’m in a far different place in life compared to 2006, I know that’s not the case for everyone—especially younger anime fans (at least those who care about physical media) who’ve had to deal with things like a terrible economy wrought by a once-in-a-generation life-changing pandemic. And I just don’t expect the Crunchyroll Store to provide that more personal touch Right Stuf had.

Crunchyroll could surprise me. They could maintain a lot of what Right Stuf did, well, right. But the fact that they’re even shelving the Right Stuf name does not bode well in my view. I might give them a chance, but a chance is all they get. With Right Stuf, what I had was trust and faith.

Thumbs Up to the Fall Lineup: Ogiue Maniax Status Update for October 2023

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The start of October means a new anime season, and there’s a lot of new shows I’m looking forward to. My main concern is having enough time for all of them. We’ve got manga adaptations I’m looking forward to like Shy, MF Ghost, Under Ninja, Migi and Dali, and Firefighter Daigo: Rescuer in Orange. Then there’s not one but two rap/hip hop battle shows in Hypnosis Mic season 2 and Paradox Live. And then Otona no Precure, the first sequel to feature past Precures as adults! For those who might be feeling tired of isekai, I think this season is gonna be one to remember—and even if you love isekai a ton, there’s still plenty to go around.

Thank you to my October Patreon subscribers below!

General:

Ko Ransom

Diogo Prado

Alex

Dsy

Sue Hopkins fans:

Serxeid

Hato Kenjirou fans:

Elizabeth

Yajima Mirei fans:

Machi-Kurada

Blog highlights from September:

Gattai Girls 14: “Sakura Wars” and Shinguji Sakura

Continuing my series of reviews of mecha heroine anime.

Boy Meets Girl Meets Tick-Throw Spinning Piledriver: Hi Score Girl

My complete review of one of the best nerd romances ever.

Hololive’s ReGLOSS Features Refreshingly Simple Character Designs

A new generation of Japanese Hololive members brings some designs that buck the trend

Kio Shimoku

There was a Genshiken pop-up store event in Japan!

Closing

COVID’s on the rise again. I hope everyone can stay safe.

Killing Them Hard with Her Golf: “Birdie Wing: Golf Girls’ Story” Season 2

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I don’t know if there’s a wrong side of ridiculousness, but I definitely know that Birdie Wing: Golf Girls’ Story is squarely on the right one. And with the series now finished, I wanted to do a review of Season 2 to wrap everything up.

(Warning: Season 1 Spoilers)

The plot of the first season is like something from a fever dream: An orphan girl named Eve participates in her country Nafrece’s illegal underground golf scene, where big money is on the line. One day, she encounters a Japanese girl destined to become her rival/romantic interest Amawashi Aoi. In order to fulfill their dream of truly playing against each other someday, Eve has to overcome all the crime lords involved through the power of her brute force approach to golf. During this time, the list of things that happen include: a rocket launcher assassination, an airship with a transforming golf course inside, and even a cyborg golfer. Eventually, Eve winds up in Japan and attends the same school as Aoi, an academy for people with dreams of going pro.

At the end of Season 1, we were left with a question of what kind of series Birdie Wing will be overall. It has so many components that it could lean just a little in any direction and become something wildly different. Now that Season 2 is done and the series is complete (for now), we have the answer: Birdie Wing is all about Maximum Drama, and it will use every tool in its arsenal to achieve this goal. These include: a disease that kills you if you play too much golf, convoluted family trees that boggle the mind, and special abilities passed down from mentors and long-lost figures from the past. What we have is not so much a sports anime or a drama, but a series that asks, “What if a soap opera had tournament arcs?”

I will give one small spoiler about Season 2: My prediction about them going into space to play golf never came true, despite the fact that “Amuro Ray” and “Char Aznable” essentially both exist in this anime. Nevertheless, it’s an enjoyable roller coaster all the way through, and how the series ends is actually brilliant in its own way. While I’m not going to say that Birdie Wing is perfect, or that it’s for everyone, I do believe that we need more anime of its kind in the world. 

Gattai Girls 14: “Sakura Wars” and Shinguji Sakura

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Introduction: “Gattai Girls” is a series of posts dedicated to looking at giant robot anime featuring prominent female characters due to their relative rarity within that genre.

Here, “prominent” is primarily defined by two traits. First, the female character has to be either a main character (as opposed to a sidekick or support character), or she has to be in a role which distinguishes her. Second, the female character has to actually pilot a giant robot, preferably the main giant robot of the series she’s in.

For example, Aim for the Top! would qualify because of Noriko (main character, pilots the most important mecha of her show), while Vision of Escaflowne would not, because Hitomi does not engage in any combat despite being a main character, nor would Full Metal Panic! because the most prominent robot pilot, Melissa Mao, is not prominent enough.

— 

This is an unusual “Gattai Girls” entry. Sakura Wars is one of Sega’s most beloved video game franchises in Japan, and doing a review/analysis of it based on an animated TV adaptation will inevitably mean I can’t fully capture everything that makes the series what it is. Nevertheless, we have a solid example of an anime that fulfills the criteria of a mecha series with a centrally prominent female pilot, so here we are. As far as I know, the TV series follows much of the same plot, but there are some cases where major events (such as a certain heel turn) do not play out as they did in the game.

Sakura Wars takes place in an alternate Taisho-era mystical-steampunk Japan where people and technology thrive, but where horrible demonic forces also threaten the peace. The only people capable of fighting them on relatively even terms are the members of the Imperial Combat Revue: a group of girls who have the dual roles of being performers in musicals in the vein of the Takarazuka Revue and fighting as pilots of special spiritually powered mecha known as Kobu. 

One of the points of appeal of Sakura Wars is that these girls are all interesting and memorable characters, but the face of the franchise is undoubtedly its namesake, Shinguji Sakura. To understand her general popularity, one need only look at Sega’s 60th anniversary popularity poll wherein Sakura got 3rd place behind only Sonic the Hedgehog and Opa-Opa from Fantasy Zone. What makes her so appealing is that she’s essentially the ultimate yamato-nadeshiko—the classical Japanese beauty—but without being a regressive character bound by conservatism.

(SIde note: While I acknowledge that the series is full of excellent female characters, the focus will be on Sakura as the main heroine).

When Sakura first arrives to join the Combat Revue in Tokyo, she’s like a fish out of water. Clad in a kimono, everything about her screams “traditional.” However, this is the Taisho era, a time of increasing embrace of certain Western values (such as marrying for romantic love). Much of Sakura’s growth over the series involves adapting to the cosmopolitan nature of her new environment and her teammates—allies who come from different parts of Japan and the world, and who hold different values—all the while still honing the swordsmanship and spiritual energy that has made her a recruit for the Combat Revue in the first place. 

I don’t often devote space to discussing the voices behind the characters in these “Gattai Girls” entries, but I have to make a special exception here because Yokoyama Chisa is simply exceptional. Her voice carries such a range of emotions, from strength to vulnerability, from joy to sorrow, sometimes all at the same time. She’s the main singer in the Sakura Wars opening for this anime (as well as many of the games), and it really does feel like Shinguji Sakura is bringing the song to life. 

I understand that romance is actually a significant part of the Sakura Wars games, as the player usually takes the role of a male captain who’s in charge of the squad. In the case of the earliest games and related media, that would be Ogami Ichiro, and I believe Ogami and Sakura are the most popular pairing. However, romance isn’t really a huge factor in the anime, and much of the story is focused on Sakura and the others developing bonds that help them to grow as people and warriors, as well as unraveling the secrets of the demons that are plaguing Japan. In this regard, Sakura is shown to possess immense inner strength, focus, and courage, all of which end up translating to becoming a great Kobu pilot over time. 

The Kobu themselves look fantastic, their round shapes and steam valves capturing the setting’s aesthetic better than anything else. They’re distinctive, and their unisex designs means that no specific attention is drawn to the Kobu being piloted primarily by girls. Every character fights in their mecha with weapons similar to what they’d use on foot, and Sakura’s is a single katana. The power, will, and resolve to defend the innocent is actually part of Sakura’s appeal as a yamato-nadeshiko, but this is again presented less as a facet of an ossified woman and more an anchor she can use for stability when she needs it.

Shinguji Sakura is the kind of female protagonist who is often imitated but never duplicated. To be able to embody seemingly contradictory values of progress and tradition while truly betraying neither is a juggling act that can fall apart all too easily. She’s the surest sign that just because a character falls under a dominant archetype doesn’t mean they have to be boring or bland.