#rotreamon

(Disclaimer: The following is a non-profit unprofessional blog post written by an unprofessional blog poster. All purported facts and statement are little more than the subjective, biased opinion of said blog poster. In other words, don’t take anything I say too seriously.) Just the facts 'Cause you're in a Hurry! Manufacturer’s Suggested Retail Price for Season (MSRP): 25.00 USD How much I paid: 23 Dollars USD. Number of Episodes: 26 Episodes Price per episode: 1 Dollar per episode Length per Episode: 25 Minutes on average. 21 Without Intro and Ending song. Number of Discs: 5 DVD Discs in total.   Episodes per Disc: 5 or 6. Licensed and Localized by: Media Blasters Animation Studio: Deen Audio: Japanese Audio with Subtitles available Bonus Features: Staff and Voice Actor Commentary. My Personal Biases: I actually saw Simoun a while back but never reviewed it. I like other shows in the Shoujo Ai genre such as Mai Hime, Mai Otome, Maria Watches over Us, Strawberry Panic and yes, even Kannazuki no Miko/Destiny of the Shrine Maiden.   My Verdict: Simoun is probably one of the best shows and anime series I’ve seen even if it wasn’t part of the shoujo ai genre. It stands up to one of the best in the business with its beautiful animation, amazing soundtrack, incredible world building and interesting characters. But its tone and message is joyless, sullen and grim. Even when the series has a handful of hopeful (not happy mind you) scenes, there’s still the sense of loss. If you can stomach some truly heart wrenching scenes, check this show out when you can. A/N: Okay, so Media Blasters is the official licenser of the show and translated most of the subs. A lot of the names were also translated but a lot of fans noticed a change in names. Mainly, a lot of characters whose names end with a “u” end up having the “u” dropped. So Caimu is Kaim, Anubitufu is Anubituf and Aeru is Aer. Also, Rodoreamon is apparently Rotreamon now. I’m going to use the names Media Blasters chose for the characters for the sake of simplicity. Simoun, a review

I consider myself a fan of shoujo-ai or Yuri anime. I own a couple of boxsets of Yuri anime. I watch Yuri anime. Even the stuff that bores me (Strawberry Panic) or annoys me (Kannazuki no Miko/Destiny of the Shrine Maiden) at least makes me rewatch it again and again. Like all things, I tend to have agreements of which shows I like and which shows I detest like the fucking plague. But, then comes a series that not only makes me rethink preconceptions I had about religion, war, politics, children, innocence and romances, but also makes me rethink myself and how I rate things on a good or bad rating. Simoun is a particularly hard series for me to review. It’s a study of contrasts. While I can honestly say the efforts put forth by the director, the animators, the voice actors and the writers is nothing less than something I find in a movie studio and the passion put into this project is nothing less than soul bearing, it remains one of the most polarizing and controversial shows I’ve ever reviewed. So, let me say this upfront so you can understand where I’m coming from: Simoun is a fantastic anime that covers the concepts of children at war, religion rivaling technology, gender roles, maturity, war in the name of religion, and the loss of innocence… that also happens to have lesbian romances. It’s probably one of the few shows that’s legitimately good and can recommend to people who aren’t shoujo ai fans. The scope magnificent, the animation, even the stilled shots, are gorgeous to look at, the music is haunting and the characters and voice actors do their absolute best to make the characters come alive. Even the use of CGI ships against a 2D backdrop manage to still look compelling (if a bit dated). A war breaks out between three nations Simulacrum, Argentum, and Plumbum over Simulacrum helical motor technology that powers the airships known as Simouns. Two fleets of the Simoun, Chor Caput and Chor Tempest, stumble upon a huge Argentum airship fleet attempting steal a Simoun. Suffering massive losses in the battle, the pair Neviril and Amuria of Chor Tempest attempt an extremely powerful but extremely dangerous maneuver out of desperation named the Emerald Ri Mājon. Neviril hesitates after making eye contact with the enemy, and the pair fail resulting in an explosion that takes Amuria with it. The fight leaves the sibyllae or members of Chor Tempest extremely demoralized and Neviril in despair. This is not Strawberry Panic, an all-girls school romance; this is Ender’s Game and Top Gun for the Shoujo Ai Genre. I would even hesitate to use the word Romance to describe this show because of how dark and at times bleak it can get. But, if you can stomach through the hardships and the gut wrenching scenes, you will find a light at the end of the tunnel and will find hope for the world and its characters. The people of Daikūriku are all born female. In Simulacrum, the girls grow up until age of seventeen, when they make a pilgrimage to a holy place known as "the Spring" to select their permanent sex. Four new sibyllae join Chor Tempest, one of them an excellent pilot with an unshakeable morale named Aer. Aer immediately decides to partner with Neviril, however despite her persistent attempts, Neviril remains too mired in her grief over Amuria's death to accept her. How committed are the producers to this premise of everyone being born female? So committed that they literally hired only female voice performers to voice all the characters, even the older men with facial hair. It’s that fact that haunts the world around them. Certain countries do not have access to the well so they have to perform sex reassignment surgery operations for half of the population to keep them afloat. And the use of such technology is polluting their world to the point of seeing nothing but red and black. This show came out in 2006 before the idea of there being more than 2 genders, debates on whether gender and general roles are a social or biological constructs and gender fluidity became popularized on internet sites like Tumblr. (I will point out to my internet skeptic friends that the show’s setting depicts EVERYONE as being born biologically female and, according to this world, that certain members MUST transition to the male gender to keep society functioning.) But be warned; the show can get bleak and downright depressing at times. If you thought it was hard to sit through some of the darker parts of Kannazuki no Miko or My-Hime, you haven’t seen anything yet! For example, as early as Episode 4 (one of the ‘filler’ episodes), Aer and Rimone take an unauthorized flight and get ambushed on the ground by an enemy soldier. The Soldier dies only to have his body stiffen up with his hands on the controls of the Simoun. Rimone points out that prying his hands off will break the controls, stranding them there in enemy territory while the enemy comes closer. So Aer has to take her tiny pocket knife and SAW OFF THE SOLDIER’S HANDS FROM THE REST OF HIS BODY. It’s not even the amount of blood or gore that’s disturbing; it’s seeing a child having to endure and do such a thing that’s so messed up. See, one of the interesting things I love is seeing how characters interact or react to the world around them. In Simoun, the Sybillae are so used to the idea of war that hearing about people dying is nothing new for them but the idea of having to deal with a mouse is frightening. It’s the type of world where a kiss on the lips between women is so commonplace but Rotreamon cutting off her braids is more dramatic. If there’s a consequence to the proceedings it’s the characters. Don’t get me wrong; the characters aren’t ‘bad’ per say and a lot are very interesting and have interesting dynamics, such as the incestuous undertone of Kaim and Alti, the mechanic Waporif dealing with the idea of faith and technology, the class struggle between Roderamon and Mamina. Even Floe, the cute girl and comedic relief, doesn’t escape the world unscathed. It’s just that the world and the situations and the conflict are so interesting, that you start to notice that the characters are a bit on the stock type. (Then again, I think you need familiar stock types so you can digest some of the bigger concepts.) But our main pair, Neviril and Aer, are the center of the proceedings and it’s their relationship that nails it. You get the sense that Neviril and Aer are both locked in a sense of immaturity, albeit from different perspectives. Neviril is locked in the idea of being pure and being a priestess forever, even going so far as to not fly again once Amuria dies. Aer, meanwhile, is an impulsive hothead who wants to do nothing but fly, even at the cost of being an adolescence. But as the war rages on and the casualties of people they know and love start piling up, the two eventually find comfort in each other’s arms. It first seems like Aer is the stronger of the two only for her to completely break down when one death becomes one death too many. If Junji Nishimura’s direction and co-writing are what brings the characters alive, Toshihiko Sahashi’s music is what makes them transcendent. Every so often, he would incorporate pieces of church music, classical music and tango to make the dichotomy and juxtaposition of certain scenes blow you away. Yes, Tango.