Tales of Symphonia: Switching scenes at supersonic speeds

Tales of Symphonia was a Namco RPG released for the Gamecube in August of 2003, or July, November 2004 if you don’t live in Japan. It wasn’t the first Tales game to receive an anime adaptation with both Phantasia, which some of you may recall from one of my previous reviews, and Eternia getting adapted before it, but it was the first to have the anime adaptation handled by Ufotable, the same studio responsible for Kara no Kyoukai, Gakuen Utopia Manabi Straight, & Fate/Zero. Yeah, it’s a bit strange, but most anime adaptations of the Tales franchise have been handled by different studios. So, how did Ufotable handle the series?

Story:

We open with our heroine, Colette, getting ready to undertake a journey of world regeneration to save her dying world. An angel, Remiel, descends to give her instruction and send her on the way. With the aid of her teacher, Refill Sage and a mercenary hired by the church, Kratos Aurion, she heads out on her journey. Colette’s friends, Lloyd and Genis, both want to accompany them but are left behind. Until their village is attacked by people who want Lloyd’s Exsphere, a mysterious object. At which point they decide to leave for the safety of the village and rendezvous with Colette and the others to aid her in any way they can.

So, it’s basically the same plot as the beginning of the game. Now, you’ve probably already noticed the major problem, the pacing is horrendous. All of those significant events I just described are in the first episode with little time between them. Events are thrown at you one after the other with no time to get a good grip on what’s happening. The plot points also aren’t expounded on very well. If you haven’t played the game you will find yourself wondering what just happened on several occasions. Which is why it’s probably a bad idea to condense a good third of the narrative of a plot heavy, multi-disc Gamecube game down to a four episode series. Sure, they managed to do it pretty well with the plot of Phantasia but that was a SNES game and much lighter on the plot.

In all fairness, the anime does do a decent job of hitting all the major points in the part of the game they cover and the narrative, though rushed and condensed, does still hold up pretty well and has some really strong scenes, albeit somewhat weakened by being rushed through. They also chose a good stopping point considering that they had more OVAs to come.

Characters:

The OVA has all the characters you see in the series, except significantly less developed since a lot of their conversations and other character scenes get cut. Still, the series has some great characters. Refill, Genis, Sheena, Kratos and Lloyd are all great characters. No, I’m not including Colette. Honestly, she annoys me. She’s one of those self sacrificing characters who worries about everyone else and is supposed to be pure and innocent. I’ve never been a fan of those characters. They just come across as kind of trite and boring to me. It’s even worse in the anime version since she doesn’t get any of her funny lines from the game.

Art:

The art is really good. The character designs, action sequences and background details are all really nicely drawn and animated. Really, there’s only one complaint I can make about the OVA. The action sequences, though mostly good, have too many blur line scenes. You know the type. Character is shown in an action pose, multi-coloured lines appear behind them and no contact is made between them and the enemy, assuming they even bother showing the character and their enemy in the same frame.

Sound:

They got some really good actors. Mizuki Nana, Konishi Katsuyuki, Orikasa Ai, Touma Yumi, Okamura Akemi and Tachiki Fumihiko take the roles of our major characters. The music is also really good with Mizuki Nana and Kawai Eri doing lyrical work.

Ho-yay:

There’s not any ho-yay in this. Making the ho-yay factor a 1/10.

Final Thoughts:

Tales of Symphonia the animation is made for fans of the game. If you’re someone who hasn’t played it, the pacing is going to leave you confused and without a lot of the context behind events. If you are a fan of the game, you’ll probably enjoy it okay as a supplementary work. For myself, I’m giving it a 6/10. It’s a decent OVA with some good moments but it definitely suffers from the pacing. Next week I’ll take a look at Potemayo.

 

Reviews of Yesteryear: K-on

K-on started out as a short comic strip manga. It became absurdly popular and has since been adapted into two TV anime, two OVAs, a film and a PSP game. Is it popular for a reason or does its popularity have nothing to do with quality? Let’s take a look at the first anime series and find out.

The story of K-on begins with a pair of girls named Mio and Ritsu who decide to join the soon to be abolished light music club. They soon find a third member, Mugi, but they need one more to keep the club alive. Enter Yui, a girl with no idea what light music is or even how to read music. To save their club, the group convinces her to join and learn how to play the guitar. The series follows a linear structure, but most of it just focuses on the everyday lives of the girls as they learn together and have fun. Overall the series does a good job of setting up interesting situations for the characters and executing them in a way that’s fun to watch. Humour is used as a major element and it’s almost always used to great effect. One issue I do have is that the girls overcome all their problems really easily. Especially Yui who quickly learns how to play the guitar with only minor problems. But it’s not a huge issue since it does fit the show’s lighthearted aesthetic well.

The characters are a little under-developed. Most of them follow tropes without ever really deviating from those tropes. The characters do interact well with each other and with the situations they get into. They also get some development, but they never get fully fleshed out.

The art is good. It’s pretty distinctive and the backgrounds are really vivid and well done. They occasionally do strange things with it, but they don’t go overboard and it generally works for the scene. One problem I do have with it is that they can’t seem to draw noses but that is a pretty small complaint. My biggest complaint is that the art can be lazy on occasion. Overall it does suit the series well.

The voice acting is well done. It’s not the best I’ve heard, but Toyoskai Ai, Kotobuki Minako, Satou Satomi and the rest of the main cast all do well with their roles. The music is one of the strong points of the series. They manage to make the girls sound like a skilled but still inexperienced band which strengthens the series’ premise.

The yuri factor is a 6/10. All of the main five girls share some really homoerotic moments, especially Yui with anyone. I especially like the way Mugi responds to several of these moments by getting really excited and generally being a yuri fan girl. Although there are a lot of these moments, they never move into the realm of canon with them.

My final rating for K-on is an 8/10. It has some issues, but they’re generally pretty insubstantial and shouldn’t affect anyone’s enjoyment too much. Overall it’s a lot of fun to watch and uses humour well. If you’re a fan of Azumanga Daioh or Gakuen Utopia Manabi Straight you’ll probably enjoy K-on as well.

Film Festival Week: Ghost in the Shell 2: Innocence

Welcome, my Friends, to the last film festival week review of the year. We’ve looked at a lot of films. Some well known. Some more obscure. Some tied to popular franchises, some stand alone adaptations. We started the week with a call back to last year’s film festival and we’re going to end the same way. So, let’s take another look at Production I.G’s Ghost in the Shell franchise. Last year, I took a look at the first film, which was excellent. This year it’s time to look at the second film. Co-produced by Studio Ghibli, this is Ghost in the Shell 2: Innocence.

Story:

The Major has gone missing. Our hero in this installment is Batou. The story opens with Batou being called to the scene of a crime to investigate a murder committed by a prototype sex robot. It seems like a job for the regular police, but Aramaki is concerned by the fact that there are several such murders, all by the same line and that some of them have been against people in powerful positions. As such, he sends Batou and Togusa to investigate the incidents and the company behind them.

Let’s start with the positive aspects of the story. It does do a really good job of converging its plot points in a way that makes sense and is largely compelling. It also does a good job of establishing everything that factors into the climax well before the actual climax. Everything is foreshadowed handily without spoiling what’s actually going to happen. The twists make sense and do help keep things interesting. The film, however, is not without story problems.

The pacing of the film is pretty bad. There are some pretty long stretches that serve no purpose other than to pad things out and show off the artwork. The investigation itself suffers from the effects of this with some scenes being far shorter than they should and others dragging a bit. It’s not so bad that you’ll lose track of what’s happening but it’s bad enough that it’s jarring.

Characters:

Our major characters in this one are Togusa and Batou. The film does do a really good job of giving them both character arcs that develop them and give them complexity. They also exchange some really good banter. The weak link is the antagonist. There really isn’t much of one aside from a vague corporate entity motivated by profit. They barely even show people who work for this company Yeah, real companies do make decisions that emphasise profits over people and there are cases where those decisions are unethical or even illegal, but it still feels weak and kind of cliché given how many works use the amoral corporation in the exact same role.

Art:

The art in this is gorgeous. There’s a lot of detail and the futuristic technology looks really cool. The character designs are unique and combined with the technology in a way that gives the film a unique aesthetic. Batou’s dog is also adorable. The action scenes flow really strongly and I have no complaints about the art whatsoever.

Sound:

Yamadera Kouichi and Otsuka Akio both reprise their roles as Togusa and Batou to great effect. Tanaka Atsuko also successfully reprises her role, albeit very briefly. All of the actors in this give great performances. As for the music, it is very good but I have the same criticism I had with the music of the first film. The same bloody song gets used throughout the movie during atmospheric scenes and it ends up really over-used.

Ho-yay:

Another film without any. 1/10.

Final Thoughts:

Ghost in the Shell 2 is not as strong as the first film. Don’t misunderstand, it’s still a good cyberpunk work with strong protagonists, excellent artwork, great acting and a good narrative. What really hurts it is the pacing and the antagonist being really weak. Still, if you’re into cyberpunk narratives, give it a watch. My final rating is a 7/10. Next week we’ll be back to our regular schedule and looking at Tales of Symphonia the OVA. Wait… there are three of those, not counting the specials. We’ll look at the first Tales of Symphonia OVA, The Sylvarant Chapter.

 

Film Festival Week: The Girl Who Leapt Through Time

Tsutsui Yasutaka is a pretty prolific author. He’s known for science fiction works featuring dark humour and satire. His most famous work is probably The Girl Who Leapt Through Time. It was first published in 1967 and has been adapted or given sequels several times for live action dramas, films, a manga and an anime film from our old friends at Madhouse. The anime film is a loose sequel rather than a direct adaptation. The big question, is it any good?

Story:

Our protagonist, Makoto, is having a bad day. She woke up late. She flunked a quiz. She got into an accident while trying to cook tempura,another student was tossed into her, sandwiching her between two other students for a while and she heard strange sounds when turning in some questionnaires only to find no one in the next room. Things take their worst turn when her bike’s brakes fail and she’s tossed in front of an oncoming train. That’s when she finds herself back in the past a couple minutes before the accident. Her aunt tells her that it was a time leap, but Makoto doesn’t believe such a thing is possible until, after some experimentation, she discovers how it works. She puts on a cricket uniform with celery in the lapel and leaps through time and space in search of adventure.

Actually, she uses her new found power to do better on tests, perform better at baseball, have fun and, most importantly, avoid slightly awkward situations. Yeah, our protagonist is neither smart nor creative. At first, she’s having a lot of fun but then she learns that her actions are having consequences, as actions are liable to have. Yeah, about half the film is made up of Makoto using her powers to mess around in relatively innocuous ways and the other half is comprised of her trying to fix things that go wrong. Honestly, it’s pretty boring. You keep expecting something interesting to happen with it, but it never does. There is one genuinely dramatic moment, but it doesn’t even last ten minutes. The main romance is kind of stupid and doesn’t make a whole lot of sense given the circumstances presented.

Characters:

Our cast is bland. Really, really bland. None of them are particularly interesting, but none of them are obnoxious or terrible characters either. There’s just nothing that makes them distinguishable from other characters we’ve seen thousands of times, if not more. Makoto is an idiot who gains a really amazing ability but can’t be bothered to think of anything to do with it aside from playing around. Her friends are the generic nice, reliable guy and the generic off-putting guy with a good heart. Then we have all the secondary characters like the supportive friend, the shy girl and so on.

Art:

The art is really good with nice detailed backgrounds and character designs that, though simple, look good. The time traveling effect is appropriately strange and is also well animated.

Sound:

The voice acting is competent. None of the actors give really exceptional performances, but none of them do badly either. They all do decently. The music is also okay. It doesn’t really stand out in the slightest either positively or negatively.

Ho-yay:

There is no ho-yay in this. 1/10.

Final Thoughts:

The Girl who Leapt through time is a hard film to discuss. Not because it’s complicated but because it’s tedious and generic. It’s a story about time travel where the time travel is never used in either an interesting or a creative way. It’s like a mystery story where the detective solves minor mysteries that don’t really have any impact. Sure, you can do it but you’re going to have to have really strong characters to pull it off. Not the rather generic cast you get in this. That being said, there’s nothing really wrong with the film. In the end my rating is going to be a 5/10. It’s average. If the concept of a girl traveling through time to make her everyday life better appeals to you, check it out. If you want something more compelling out of your time travel stories, stick to Steins;Gate, Back to the Future, The Time Machine, or any number of other stories. Tomorrow, film festival week ends with a look at a certain film involving cyborgs.

 

Film Festival week: Metropolis

Let me take a moment to talk about Metropolis. Metropolis was one of the most notable pioneering sci-fi works released back in 1927. It was directed by Fritz Lang and written by Fritz Lang and Thea von Harbou. The film is a classic of the genre, in spite of some scenes being lost, and every sci-fi fan should watch it. Why do I bring this up when it has nothing to do with anime? Well, back in 1949 Tezuka Osamu, who you may know as the creator of Astro Boy and Kimba the White Lion, made a manga inspired by the film, also titled Metropolis. In 2001, Madhouse and Tezuka Productions came out with an anime film version. Which is what we’re looking at today.

Story:

The narrative opens in the titular Metropolis with a celebration for the opening of the new Ziggurat. Our protagonists are the private investigator, Shunsaku Ban and his nephew, Kenichi. They’ve traveled to Metropolis to find and arrest a Doctor guilty of harvesting human organs. Little do ther realise that he’s working with the great aristocrat, Duke Red, to create a specialised robot for a specific purpose. They find the doctor’s laboratory burning and Kenichi gets separated from his uncle and stuck in a lower part of the city with the robot, Tima.

The story doesn’t have a bad premise, even though it’s not the one from the original silent film or even close to it. But it quickly becomes riddled with problems. A big one is the romance they have between Tima and Kenichi. It’s incredibly weak with the two characters showing no chemistry nor sharing any substantial moments. They meet and they’re amicable towards each other so it must be love, I guess. The biggest one is probably Duke Red’s ultimate scheme. It reads like a bad silver age comic plot, but without the glorious cheesiness that made silver age comics entertaining. Instead, the film plays it completely seriously. The pacing is all over the place, with some scenes dragging and others getting rushed through.

Characters:

The characters are severely under-developed. Most of them fill a basic archetypal role and never move beyond that. Which is a real problem when they try to get you to sympathise with them. Something bad happened to that guy with three or four lines? Yeah, if you don’t flesh out your characters, we aren’t going to care. The big exceptions are the characters with even less personality. Tima moves well below under-developed and is just very flat and primarily serves the purpose of being obsessive about Kenichi with little if any personality or motivation beyond him. Yes, the 1927 film was somehow more progressive in terms of gender portrayals than the 2001 one. There are other characters like that, mostly ones who appear in only a few scenes, though. Tima is the only major character with that particular problem.

Art:

The artwork is by far the best part of the film. The characters are done in a kind of retro design style reminiscent of other anime based on Tezuka’s work. Which does work very well given the source material. The backgrounds are magnificent. The futuristic tech is really cool looking, although some of it seems like it was deliberately designed around looking cool while being grossly impractical. The fire fighting equipment in particular involves a bunch of small parts that all have to converge and fuse into the main device. It does look cool, but it makes the world seem kind of stupid.

Sound:

The voice acting is mostly pretty competent. The actors all do their work well enough. The big exception is Imoto Yuka who can’t be asked to emote and gives a very monotone performance. It may be a matter of direction, but I haven’t heard her in anything else, this film was the only acting credit I could find for her, so it’s possible that the direction was fine and she was just bad. The music is really good.

Ho-yay:

There really isn’t any in this. 1/10.

Final Thoughts:

This movie is not good but I would hesitate to call it ungood. Visually, it’s a real treat. The music is good and the acting is, mostly, okay. That being said, it has a lot of problems. The story is weak. The characters are bland at best. It’s a film that’s flashy but lacking in any real substance. You might want to give it a watch if you’re really into high quality animation and sci-fi, but if you’re going to want a compelling narrative with interesting characters you’ll want to skip it. As such, I can’t recommend it for most people. Although you should definitely watch the silent film that it’s very loosely based on. My final rating is going to be a 4/10. Tomorrow, we’ll leap to something else. Possibly involving time travel.  

Film Festival Week: DBZ: Battle of Gods

Dragonball Z is another franchise everyone’s heard of. People tend to either love it for its characters and action sequences or think it’s kind of stupid because it’s kind of a mindless action series where people scream to get stronger. Whatever your opinion on the series, Toriyama Akira’s creation has certainly had a profound impact on pop culture. It also has over a dozen films. So, you may be wondering which one I’m looking at today. Well, that would be the most recent film from just last year. Dragonball Z: Battle of Gods.

Story:

The narrative begins with the Northern Kai talking to the Supreme Kai, using their long distance communication technique, about the awakening of the God of destruction, Beerus. Goku overhears, being on the Kai’s planet for training because taking care of his family would not be fun and it’s much better to wander off to distant planets where they can’t find him. We cut to Beerus, who’s waking up from his slumber. He and his companion, Wiss, discuss what’s been happening with Frieza and Beerus learns that he was killed by a super saiyan. This reminds him of something he heard from the oracle fish, which is apparently a thing, about a Super Saiyan God. So, he and Wiss go on a mission to find out what that is. They start with Goku, whom Beerus easily defeats in a quick sparring match. Then they head to Earth, the Northern Kai warning Vegeta to not fight or upset Beerus, lest the God decide to destroy the planet.

There are several things the movie does well. It has a great sense of humour. It’s also really interesting to see Vegeta try to appease Beerus, even though you know it’s Dragonball Z and it’s only a matter of time until the fight sequence. I also do like that the ultimate resolution isn’t what you’d expect from the franchise. There’s also one really satisfying fact about the film. It invalidates GT. If you’re not a fan of the franchise, let me give you the short version. GT was a sequel to Dragonball Z that the original writer, Toriyama Akira, had absolutely nothing to do with. Most fans hated it. So, how does Battle of Gods flip this unwanted sequel the proverbial bird? Pilaf, Shu and Mai, three antagonists from the original Dragonball, appear in the film as little kids, having wished for youth at some unspecified time before. In GT the three of them appear as elderly and decrepit, while characters who are now older than them are just middle-aged.

Now, let’s go into the negative aspects. There are really two major narrative problems with the film. The first just doesn’t make much sense. Why does the Northern Kai only warn Vegeta? I get the reason from a comedic perspective. It puts Vegeta in a situation where he has to try to keep this guy calmed down while no one else realises the danger. But from a story perspective, it doesn’t make any bloody sense. Why tell the guy who’s known for his bad temper but not tell any of the people who could exercise a more calming influence? It’s not like Piccolo or Gohan is going to panic because someone ridiculously strong is coming or they’re going to deliberately antagonise him when they know the risk just to see his power.

That brings me to the second problem, which is a bit of a spoiler. I know, I usually try to avoid telling you major plot details, but this one needs to be talked about. Basically, they discover that summoning the “Super Saiyan God” requires five Saiyans putting their energy into a sixth. That leads to a bit of a pinch. They only have five; Goku, Vegeta, Gohan, Trunks and Goten. Enter one of the dumbest plot points I’ve ever seen. Videl is pregnant and the baby is going to be a quarter Saiyan, so they’re able to draw upon the… power of the fetus to complete the transformation. You may notice that your brain actually hurts from reading that sentence. Let me assure you, I am not making that up. I know, it’s hard to believe that any franchise would do something that profoundly stupid, but it actually happens.

Characters:

Since Dragonball Z has a massive cast, I’ll keep the bulk of the discussion to the characters who play an important role in the film Yeah, you see most of the major supporting characters from the series like Yamcha, Krillin, Tenshinhan, Chiaotzu and so on. They get very little dialogue and they don’t do much. If you’re a fan of their characters you’ll probably be happy to see them otherwise you’ll just notice that they’re there.

Vegeta gets some really good character moments in this. Actually, his entire family does. Vegeta, Bulma and Trunks all get some great moments and they interact with each other really strongly. Surprisingly so given that the film is only an hour and a half long. I also really like the Pilaf, Mai & Shu scenes. They were really funny in the original Dragonball and this film sees their triumphant return. Beerus is also a great antagonist. He’s hilarious and just a delight.

Art:

The art in this is superb. It has Toriyama’s signature character designs with really detailed backgrounds. I especially loved Beerus’s world. It looks amazing. The fight scenes are what you’d expect with quick movements and flashy attacks. Although, being a movie, they don’t spend nearly as much time with characters powering up or with moves that take a long time to charge. Which is frankly for the best since the fights in the series proper tend to drag because of that kind of thing. The fights in this are a lot smoother.

Sound:

Everyone in the cast is pretty good. The best performances come from Tsuru Hiromi, Horikawa Ryo and Yamadera Kouichi as Bulma, Vegeta and Beerus respectively. The music is also really good.

Ho-yay:

There is none. 1/10.

Final Thoughts:

There are some really good things about this film. The comedic moments, the antagonist, the interactions with Vegeta and his family, the non-traditional ending and invalidating GT are all reasons to give it a watch. That being said, there are also some serious problems. The Northern Kai’s decision to warn only Vegeta makes no sense. The fetus helping them power up is oh so mind-numbingly stupid. All of the characters who are in the background but neither say nor do anything important beyond giving Bulma’s party a sense of size. Which is kind of a flimsy justification for their presence. Still, I would recommend it to fans of the Dragonball franchise and I did enjoy watching it over all. As such, my final rating is going to be a 7/10. Tomorrow, Film Festival week continues with something more… futuristic.  

Film Festival Week: Sailor Moon R: The Movie

Sailor Moon is one of those franchises that you’re almost certainly familiar with. It has five anime series with a sixth currently airing. I already looked at the first series, which was great if you watched the original and terrible if you watched the heavily censored Eglish dub. It also has a live action series, over a dozen video games, a musical version and a trio of anime films. Today, we’ll be looking at the first of them. Sailor Moon R: The Movie.

Story:

We open with the sailor soldiers going to a greenhouse/ garden to look at flowers. Everything seems to be going well and laughter is in abundance. That’s when a strange guy approaches Mamoru and takes his hand in a very suggestive fashion while telling him that he’s brought a flower like he promised. Usagi notices and tells him that Mamoru is her boyfriend. He responds by pushing her away, shifting appearance to look very similar to Ail and Ann & teleporting away with a flowery effect. But he vows to bring Mamoru lots of flowers. Mamoru mentions the name “Fiore” and goes off on his own. Leaving the soldiers to contemplate what it all means and Usagi to try to deal with her boyfriend’s probable bisexuality. Although she really has no room to judge given that she’s attracted to at least three other women over the course of the anime.

Now, I actually do like that they use their words and try to reason with the antagonist rather than just going into a long fight scene. I also do like that they make Fiore sympathetic, which is pretty common for Sailor Moon villains, instead of evil for the evils. The film also has some good comedic moments, some with Chibi-Usa, although I only begrudgingly admit that I liked some of her scenes. I also like that the film’s story is self-contained, giving you enough information that you can easily understand it even if you haven’t seen the series leading up to it. The film’s major narrative flaw is the ending. A lot of the stuff leading up to it is good, but it moves into an obvious fake out scene with a cheap resolution. Now, it really needed a little time after that scene to wrap things up properly. Instead, the movie just ends abruptly. It feels like they couldn’t think of a good way to wrap things up and just decided not to bother.

Characters:

The sailor soldiers remain fun, entertaining and interesting characters. Some of the best scenes in the film involve the five of them just having fun or explore their bonds with each other. Fiore is also a great character and I did, overall, like what they did with his story arc. The weak links are Chibi-Usa, who gets some funny scenes but is still a pretty annoying character, and Mamoru, who is just as bland and generically good as he’s always been. The difference is that in the series he stayed largely on the sidelines as a secondary character and in this film he’s one of the major focus characters. It does make his dullness more noticeable.

Art:

The art is good. The character designs look as nice as ever. The action sequences flow better than they do in most of the series with some of the stock attack animations being replaced by more active scenes, although there are certainly plenty of the stock animations present. The backgrounds are lively and nicely detailed, certainly moreso than was present in the first series at least.

Sound:

The vocal cast is superb, as it is in the main series. Mitsuishi Kotono, Hisakawa Aya, Tomizawa Michie, Shinohara Emi and Fukami Rica are joined by Touma Yumi as the Kisenian flower and Midorikawa Hikaru as Fiore. Sailor Moon fans may recognise them as the same duo who played Ail and Ann in R. Which is a little confusing given that the film’s story really has nothing to do with the main R storyline in spite of the title. Still, they all give great performances. The music is really good. Sure, some of it is recycled from the series but it was good music then and it’s still just as good.

Ho-yay:

Given that the plot revolves on another man with an obvious crush on Mamoru and that Mamoru does respond to his feelings pretty favorably in spite of Fiore’s feelings being arguably one-sided, I’m going to give it a ho-yay factor of a 5/10.

Final Thoughts:

Sailor Moon R: The Movie does have a lot to recommend it. The characters, aside from a certain two, are really good. The story itself is compelling and features a lot of good moments. The voice acting and music are great. It’s not a great film, however. It suffers from a weak ending. It feels incomplete. One of the focus characters is Generic Male Love Interest #403. If you’re a fan of the Sailor Moon franchise and you haven’t seen it, check it out. You’ll probably like it okay, at the very least. My final rating is going to be a 7/10. Tomorrow, a film from a different famous Toei animation franchise. Yes, this one is probably the first one you thought of.