Dear Internet,
I
called it. I called it out before it
even happened. What did I call out? Never you mind it right now. What you should mind is the show "Full
Metal Panic! The Second Raid" as a whole because even that one
predictability is done so well that I cannot fault it. In the last three entries I have spent
detailing the first animated series and the spin-off series. Each one had its strengths and
weaknesses. "The Second Raid"
goes so much farther than the other two that I need to go a little slow lest I
gloss over what made it so much better.
"TSR"
continues right off of the original series and pays little to no attention to
"Fumoffu" in any way. It does
however cite the second series as cannon due to a single photograph taken
during "Fumoffu" reappearing very quickly. This is a risky move because it validates a
show that was taken to the other end of the spectrum. If it allowed too much of a spin-off series
to make way into very serious nature of the show, it would detract from the
various themes present in the show. However,
"TSR" plays it smart by not constantly referring to
"Fumoffu." A single photograph
is all that is left of "Fumoffu" with no mention of Bonta-kun, the
various extra characters, or anything else nonsensical. On the note of continuality, the first
animated series is required to watch to understand "TSR." There is no way to get through
"TSR" without a firm understanding about what occurred in the first
series, and even then you might need a moment to remember what is being referred
to. Not a long moment, but a few seconds
longer that might cause you to miss the next line or two. "TSR" knows that it cannot spend
time recapping all the events of the first series and knows not to try, lest
the quality drop.
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| Two of these characters do not even show up in this show. |
The
quality of nearly everything, from the animation to the score, seems to have
been given a double budget. Perhaps it
is because there are half as many episodes as the first animation or because
the popularity of the series allowed for a higher investment. I am not sure why, but the proof of that is
evident. The animation shows signs of
higher production values by having the characters move. Reading that back makes it seem a bit funnier
than it should. Obviously, there needs
to be movement in an animation. Otherwise
you might as well read a comic book or view a slideshow. There are tricks that animation studios use
to minimize the cost of shows by reusing the same drawings so that fewer
drawings need to be made. More drawings
take more time and more time means more money is needed. The simplest way to do this is make the
various characters stand still or not move their head while talking. Only a lip flap needs to move to make someone
talk. "TSR" does not do
this. Instead, characters are constantly
punching, grappling, running, and interacting with the world around them. When people talk, they move their head and
bodies, just like real life. Even the
most listless person in life cannot stay still while talking. When the battles start up, the mechs are
constantly changing positions from standing to running to crouching instead of
standing still with endless bullets flying past.
The
production quality goes to the score as well, which learns how to properly
build up a scene. The violins and brass
section plays wonderfully in the combat sequences and are able to inject
ferocity into the scene. When Kaname's
justified paranoia begins in episode nine, the same instrumental selection is
able to drive fear and reflect the terror she finds herself thrust into. The show's score even more importantly learns
how to be quiet. Back in the first
series review, I wrote about how the show had a good sense of suspense for the
most part, but only in regard to the plot and not to the safety of the main
cast. In episodes six and seven especially,
there are long pauses between dialogs that goes farther to build up the
suspense of a single scene that any time that the characters lives are
threatened. The scene of Kaname cutting
Sousuke's hair in her bathroom is one of the most emotionally jam packed moments
in the show, but there is little dialog.
Instead the scene is driven so deeply because of a lack of musical accompaniment. Every little foley sound, from the ruffling
of hair to the newspaper crumpling underfoot to the scissors, adds tension by
being highlighted. It is a quiet moment
and should be treated as such. It seems
silly to mention a lack of music as a point for the score, but knowing when to
keep your mouth shut is a virtue in public speaking. Dramatic pauses are done for a reason. With this scene in particular it shows the
level of trust Sousuke has towards Kaname.
His trust in the common barber is on the same level of PSTD.
"TSR"
outstanding qualities go beyond the production values. Anyone can throw enough money at a project
and get higher quality animation and sound.
What makes this show so well done is all the various things added
up. The characters are completely
fleshed out, again, but here their interactions with one another are played
out. When Tessa is confronted with her
feelings towards Sousuke, she voices her conflicting emotions that arise from
also being his commanding officer and the commander of many other soldiers. Her job takes precedence, and she is
unwilling to let her emotions take a higher standing. That does not mean that she is unemotional
but is torn apart by those same emotions.
The show does a much better job is showcasing her commanding skills with
episode four. Previously, I found myself
asking why a sixteen year old was allowed a level of submarine captain, and the
show did little to bring to light her leadership abilities. In that episode, she is forced to give orders
by manually creating a battle plan to a group of soldiers who are already
fighting. Later on, Tessa has to
reaffirm Sousuke's skills as a member of Mithril without relying on her
emotions. The show finally gives
testament to her rank as captain instead of falling back on her status as a
"Whispered."
Sousuke
goes through the complete cycle of a hero with "TSR." He has nearly every hurdle and test of the
classic hero. He has to make a decision
on the matter of following Mithril's orders or choosing to continue his life at
high school. He has to determine what
exactly his feelings to Kaname and Tessa are. His shortcomings in being able to activate the
Lanbda Driver are thrust out for all to acknowledge. The entirety of episode eleven where he
attempts to wallow in his sorrows with either liquor or a stand in woman is a
standard turn of events as far as story goes, but the plot changes things
up. Not only are his beliefs questioned
but his eventual choice reflects his true feelings. Those same feelings are complex and even
contradict at times. Eventually, he is
even brought beyond the line of morality that the show had made for both him
and Mithril. His final straw falls and
breaks him down. Afterwards, he is
brought back together and is able to sort out his feels and acts upon them.
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| Living the dream. |
There
were also a number of plot elements that "TSR" was able to clean up
for me. It was one of my bigger
complains with the first series. The problems
with Gauron's constant use of high budget mechas and purpose for fighting were
finally explained. The way the show does
this is probably one of the most memorable confrontations with Sousuke
confronting a limbless Gauron taunting Sousuke all the while. Even after their final confrontation Gauron has
a trick up his sleeve, the genius madman that he was. "TSR" does not tidy up all the
loose ends, however. The
"Whispered" plot line is nearly completely ignored, and the introduction
for the shadow group Amalgon creates a whole new set of problems, but that does
not seem to matter. The point of
"TSR" was to finalize the character development of the most major
characters. It was meant to delve deeper
into the complex emotions that surround Sousuke's and Kaname's situations of
being split into two different worlds.
The worlds of civilian life and military/espionage life are placed right
next to one another, and the two people that come from one and attempt to
bridge to the other must decide how to handle it. Sousuke learns that he prefers the civilian
life with Kaname, but he must continue to pilot the Arbalest to
protect his comrades in arms. Kaname
learns the horrors of the world beyond her sphere and how she is capable of
more than what she thought.
I
briefly want to touch upon the Xia sisters. The two bad guys, or should I say girls,
introduced in "TSR" mirror Sousuke in a way. In the same way that Sousuke was brought up
and raised on the battlefield, the Xia sisters were as well. However, they are horrible twisted, killing
anyone who comes in their way. Allies
are only there for an end and are expendable.
They are a reflection of Gauron's philosophy. If it were not for the saving grace of Andrei
Sergeivich Kalinin or of Mithril's positive influence, Sousuke would have ended
up like them.
"Full
Metal Panic! The Second Raid" is a great television series. It took the foundation that the first series
made and crafted a tale of such deep and varied emotions. Character relationships are shown to be more
than single variable that fall into either-or categories. The story is more than satisfactory and
weaves a tale of intrigue that does not pity the viewer by making things simple
for them. What might make it difficult
to get into is the fact that the first series needs to be viewed to understand "TSR." It is nevertheless a product that goes to
prove that sequels do not necessarily become degraded carbon copies of the
original.
Yours in digital,
BeepBoop
P.S. Tomorrow is "Tales from Earthsea" the movie.
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