Anime QuickRecs

Some anime I like! Two old classics, and one newer one I saw recently.


I’m surprised to see I haven’t reviewed this yet! This is one of my favorite animes of all time, so let’s fix that!

This is a bit of a complement to Fullmetal Alchemist. It’s similarly an anime adaptation that took a typical shonen kudzu plot and streamlined it into something that actually engages with the themes outlined in the beginning.

This is also an example of a story that’s really hard to sell, I think, as the trappings are pretty unrelated to the real content. Here’s the back-of-the-box pitch: it’s a far-future post-apocalyptic sci-fi adventure on a desert planet, starring a superhuman pacifist gunslinger. Here’s what the story is actually about: a deconstruction of absolute pacifism and selflessness, and the worth of ideals compared to human lives. It asks the question: If you show mercy to a murderer who then goes on to kill more people, do you share responsibility for those deaths? Can you really say you haven’t killed anyone just because you personally didn’t pull the trigger?

There is a scene establishing the hero’s and villain’s motivations that I find a brilliant metaphor: as children, the two encounter a butterfly trapped in a spider’s web. The hero tries to delicately pry the butterfly free, but the villain walks over and callously crushes the spider.

“I wanted to save them both!” says the hero.

“That’s stupid. If you keep saving the butterflies, the spiders will die of starvation,” says the villain. “It’s the same result either way. You have to kill the spiders if you want to save the butterflies.”

Then the hero punches the villain in the face while screaming obscenities.

And the entire plot is that played out in macrocosm. This is, genuinely, the deepest analysis of this topic I’ve ever seen in media. It’s so often that we see heroes who nobly refuse to kill, but I’ve never seen a story that so thoroughly engages with all the motivations, philosophies, and consequences that come with that.

The Vision of Escaflowne

This is my favorite anime of all time. It is, once again, a brazenly irreverent AU fanfic of an adaptation. It’s a trapped-in-another-world fantasy, but does so many clever twists on it and has a totally nonstandard protagonist, all while being incredibly beautiful and well-constructed. The plot is complex, but makes perfect sense the whole way through; everything is brilliantly foreshadowed down to the finest visual details, and the final message is one that I think is incredibly important for people to see.

Also, the reveal of the villain’s identity is simultaneously hilariously absurd and makes total sense. The show is worth watching just to see it.

The other thing I loved about this is how it handled its female protagonist. This blog has talked a lot about how much authors seem to struggle with inserting women into typically male-dominated narratives, from our very first review of The Hunger Games and Katniss renouncing all her femininity to fit herself into a typical male action hero role. Escaflowne does not do this. Hitomi is an ordinary person surrounded by people with swords and magic and mechas engaging in epic fights — but instead of being forced to join in on this paradigm, the story itself shifts to suit her skillset. The story decides it’s not going to be about fighting. It’s about the tragedy and horror of fighting, and Hitomi leveraging her own unique skills to come up with completely orthogonal solutions to that problem. She saves the action hero who should be the typical shonen protagonist in almost every episode, not through martial skill, but simply because she has visions of the future and the proactiveness to try to change them. The fighting consistently remains a background presence; what is important is Hitomi, her perspective, her wants, her decisions, how even as a civilian she can change the course of fate. I’ve never seen anything else that handles this so well. This show should be mandatory watching for anyone wanting to write “strong female characters”.

Mob Psycho 100

A shonen story by the author of One-Punch Man. It is an absolutely hilarious parody and deconstruction of typical shonen tropes, while at the same time being surprisingly poignant. The typical shonen power fantasy is cranked to its logical extreme, with a comically overpowered protagonist who can overcome any obstacle. But what’s interesting is that he doesn’t see himself as special in any way — banishing ghosts is just an afterschool job to him. The real emotional conflict of the story centers around his mundane life and mundane problems. He has all the power in the world, but all he really wants is the approval of his classmates. The story constantly draws attention to how childish the shonen power fantasy really is, and shows us that real power lies in emotional maturity and social competence. My favorite character is definitely Reigan — I love what a complete inversion of Mob and the typical shonen power fantasy he is, that this pathetic cowardly con man is portrayed like a god because he’s the equivalent of Mob at social skills. His scenes are a joy to behold.

I also like that Mob is just a really nice person. A scene that really struck me early on is when he encounters another psychic who’s using his powers to hurt people. I expected this to go the way it always does: the Superman protagonist jumps at the chance to find an excuse to let loose, that because this person is using magic they no longer get the same protections as people. But that’s not what happens. Mob refuses to use his own powers against him, even as the guy’s beating him into a bloody pulp, because using powers on people is wrong. He’s later heartbroken to learn that his brother was jealous of his powers, because it genuinely would never even occur to him to think that his powers made him better than other people. And even Reigan, who initially appears to just be using Mob for selfish reasons, actually turns out to be giving Mob genuinely good life lessons and morals. There’s such an earnest goodness to everything in the show, even as it’s wrapped up in such utter absurdity.


  1. illhousen says:

    Oh, hey, I’ve read/watched Mob. It is indeed pretty good. It should be noted, however, that the manga is drawn in the signature style of the author, which is to say, it looks like doodles in the margins of a notebook. It’s charming, but not conventionally pretty.

    The anime does a good job of going completely mad with visuals, but it currently covers a rather limited amount of the material.

    1. The Reeds of Enki says:
      Mob’s been something on my to-watch list for some time. I’ve seen OPM, and I liked that one. I really liked Act’s (I think it was Act) deconstruction of the plot and how it would probably end. As someone writing a female main character, The Vision of Escaflowne might be especially useful for me to watch, especially as my main character isn’t a powerhouse either, and even has pseudo prophetic visions, to boot!
      1. CrazyEd says:

        I also suggest reading the Escaflowne mangas (yes, plural). They made a shounen one and a shojo one, and at the very least, its interesting to see how they differ. The shounen one is much longer (about ten volumes as opposed to getting axed at about ten chapters) and features a much more violent and action focused storyline (but closer in level to the anime than the shoujo one) and a very different heroine than either the anime or the shoujo version. The shoujo version is much more heavily focused on character interaction than the shounen version or even the anime, to the point that Escaflowne itself barely appears at all, though the heroine is far more like the heroine from the anime.

        1. The Reeds of Enki says:
          I am a fan of manga! It’s a lot easier to read those than to sit down for the full 30ish minutes required for an anime episode. I’ll put them on my reading list, thanks.
          1. CrazyEd says:

            That said, though, as I recall (and I highly doubt my memory is wrong in this instance), the anime is superior to either manga adaptation. It’s best to think of them as three separate stories entirely.

  2. Farla says:

    I think, as the trappings are pretty unrelated to the real content. Here’s the back-of-the-box pitch: it’s a far-future post-apocalyptic sci-fi adventure on a desert planet, starring a superhuman pacifist gunslinger. Here’s what the story is actually about: a deconstruction of absolute pacifism and selflessness, and the worth of ideals compared to human lives. 

    You know, I feel like that just suddenly clicked when you brought it up.

    As time goes on it the series shows that the stuff isn’t there just because aesthetic, but the actual elements are so buried under cliche and overuse it’s hard to really look at them directly.

    It starts off just being a bunch of roving assholes Vash is mysteriously invested in not shooting, but soon we see it’s the social group nature of humanity that underlies the predatory behavior. People can’t survive alone  and the only reason civilization is even managing to limp along is group effort. But the best way to survive is to take the work of a large group for your own personal benefit, and that kills the people you take it from, which reduces both the overall resources and the people available to do the work needed to survive, which makes survival harder and violence more necessary…

    So – post-apocalyptic scifi = this system of fighting over and blowing up vital, lifegiving resources had consequences and the longer it continues the worse it gets for everybody. Desert = but it’s not just that the nature of man is to suck, there really is a resource problem going on here and people really do have to weigh their wellbeing against a stranger’s all the time. Gunslinger = we are so so tapped out that a random dude with a gun vs another random dude with a gun is how we resolve things. There’s no higher authority Vash can appeal to, no broader system that’s wrestled with these problems and found a non-bullet solution. He, the moral system he cobbled together as a baby, and the genocide gun his brother made him are on their own.

    1. Spoony Viking says:
      The Mad Max series also deals quite well with those themes.

      I loved the Trigun anime! Never read the manga, though. I found it particularly poignant with how it didn’t shy away from the heavy price exacted by Vash’s philosophy – he’s a literal super-human, and his body is a mass of scars and bruises.

  3. So I just saw the Mob Psycho season 2 finale and it was SO GOOD. Definitely immediately rocketed this from “a pretty cool anime” to “this goes on my Top 5 list, STAT”. I’ll try to be vague to avoid spoilers but you should totally watch/read it first!

    I really loved everything about it, the way they so effectively characterized Suzuki as a foil to Mob in so few episodes, and Mob’s whole emotional journey during the battle. Everything he said was so poignant and meaningful and such a great epitome of all the good themes of shonen while rejecting the toxic trappings.

    I was also really struck by how it did right basically everything I felt the Steven Universe finale did wrong. In an odd way it even felt like a more mature/optimistic version of the Trigun climax, with the protagonist figuring out the correct answer on his own instead of needing to be forced into it. I cry-squeed when he said “I don’t want to hurt you, but you’re hurting other people and I can’t make you see reason, so I have to.” And he’s so earnestly sad that he has to do it but he still does it even though it hurts! Just… Yes! That’s it!! That’s exactly how you should feel!!! My utilitarian soul is so proud of him.

    Also also, I really appreciated that Suzuki’s wife ended up mattering. It was obvious that he had to have one, but I was fully resigned to her never actually existing, because shonen. But no! She exists and she’s actually important! I particularly loved the reveal that Sho has actually been seeing her all the time — just because she dropped off the face of the Earth from Suzuki’s perspective doesn’t mean she actually did!

    Also also also, this is something Farla might make a post about later, but I liked Reigen getting another fakeout death. It’s a really good example of how you don’t need to actually kill off characters to make people invested in them — in the first season finale I was so worried he was actually dead and relieved he got a bailout, and this time I felt the exact same way even though that was already established precedent! I was still all “Oh no what if it’s real this time??? D:” and just really happy it wasn’t afterwards. Reigen is just so great! As with so many characters, I don’t think any drama from his death could possibly make up for the loss of what he contributes.

    Anyway I’m really looking forward to season 3 now. Hopefully it doesn’t take another 3 years to drop.

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