Initially daily but now sporadic blog about anime and world animation with a specific focus on the artists behind the work. Written by Ben Ettinger.
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« Space Dandy #8Space Dandy #6 »

Sunday, February 16, 2014

06:54:00 pm , 901 words, 4193 views     Categories: TV, Space Dandy

Space Dandy #7

Dandy joins a no-holds-barred space race out of petty jealousy and winds up getting transported into the distant future...

Packed head to toe with nonstop hilarity and action, this was one of the best episodes yet. This episode provides exactly what I want to see from Space Dandy: Solid entertainment, sheer idiocy, and irreproachable quality.

Redline and Wacky Races spring to mind as comparisons, but there are no shortage of predecessors in the venerable crazy racing genre, and this episode delivers everything you could want in such an episode. A parade of colorful enemies battle it out with one outrageous-looking racecar after another along a perilous racecourse offering a variety of different obstacles. Solid production values keep this episode afloat, with strong animation and visuals generally, and solid directing that keep things racing through to the end with plenty of twists and turns. With its ludicrous designs like a giant flying heel and a rocket in the shape of an enormous boob, it also reminds the tastelessly silly mecha in classic Tatsunoko shows.

Goro Taniguchi storyboards and So Toyama directs. Taniguchi's first big job as a director was in 1999 at Sunrise with Infinite Ryvius, an underappreciated sci-fi Lord of the Flies, before he went on to direct the excellent Planetes in 2003, and then Code Geass, which I haven't seen but is presumably what he's best known for now. (The whole Planetes/Geass team is present here, if you add Ichiro Okochi from the previous episode.) He appears to have been storyboarding mostly in the last few years, and he shows off his chops here. I'm not as familiar with Toyama, but the episode has great polish, so he did an impeccable job bringing Taniguchi's board to life.

Writer Kimiko Ueno is putting in quite an impressive showing. This is her third script to date. I loved the twist she pulled at the end by turning the heartthrob bidanshi cliche on its head and making the prince fall for Dandy. She was a good choice for this episode, as there are lots of other fun bits that prove she's Dai Sato's spiritual successor. When the S&M racer girl begins demonstrating what seems to be various sex positions, the announcer rushes in to tell the kiddies that she's just demonstrating her "combat moves". She nails Dandy's lovable but craven showoff personality - he goes for his "last resort" right at the beginning of the race. Was that an Ideon reference when the planet gets split in half near the end?

Topping a crazy and silly episode off is one of the more trippy and mind-bending endings yet, with Dandy traveling into the future after having a homoerotic space collision only to encounter a Dandy Buddha?! The episode ends with a "The End" credit, again implying that the story starts anew with each episode. Although it would be entertaining if all of these tantalizing clues being dropped about parallel universes or whatever turned out to be nothing but MacGuffins there just to yank the chain of speculation-prone viewers, I'm curious to see if the show begins to tie all of these threads at some point later in the series in a way that makes sense.

All of the characters had their moments to shine, even the baddies, and the episode is filled with amusing touches. The most obvious was the periodic title card with singsong "Dandy" cutting between scenes in the style of a classic cartoon, which was a great touch in the spirit of the show.

Chiba Yuriko, designer of Planetes, acts as sakkan, and does a great job, as the drawings of the characters throughout are flawless. The prince was rendered immaculately beautiful, befitting his sparkles, and Dandy's yankee attitude came out particularly nicely in his various expressions. Series designer Yoshiyuki Ito was brought in to design the character, which makes sense, as he is good at creating bikei characters like this where delicacy of line is of the essence. Bones regular and mecha specialist Eiji Nakata is co-credited as sakkan, so he presumably oversaw the mecha. I was thinking he probably did the shot in the opening with the mecha of increasing size, and that we'd probably be seeing him appear in the inevitable mecha-themed episode.

The episode featured an even bigger designer cast than usual due to the requirements to design so many vehicles and racers. One surprise name was Hiroyuki Imaishi, who took time off from his own show to design some hilariously ridiculous spaceships, like the one with a truck for a nipple/cockpit, and the waitress's nudemobile with boobs for headlights and butt for a fender. It appears that his rough designs weren't used as is, though, but were cleaned up by mecha designer Fumihiro Katagai. Takuhito Kusanagi designed the flower announcer alien this time around, which is an amusing blend of sunflower and flamenco dancer. He had quite a bit of screen time this time.

I couldn't pin down much of the animation, but there was plenty of nice work. Yutaka Nakamura is the most prominent name in the credits, but there are other talented animators - Jun Okuda, Mamoru Yasuhiko, Koichi Shimoda, Kazumi Inadome, Johei Ohara, and Tetsuro Tamaki. They're names I see often but I don't know their work well enough to identify it. Hiroyuki Mori, Yuichi Nakazawa and Tomohiro Takayama presumably worked on the mecha. Johei Ohara goes way back, having been a designer on Birth in 1984.

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1 comment

shergal
shergal [Visitor]

Yeah, this is probably my favourite episode so far. It doesn’t have the sheer animation extravaganza of eps 1 and 2, but it’s actually quite a feast with a bunch of very nice mechanical animation spread out. I liked the one shot with background animation that didn’t actually look like something you’d want to animate the background for, as it moved little and subtly. Just the fact that whoever did it went to the length of doing that I already like. Nakamura’s part was probably the Aloha Oe getting the burst, the part with all those impact frames he’s known for.

I like this episode as well because the direct comedy wasn’t really working very well in the show, and this episode doesn’t focus on that but on the episode long action set-piece, with sprinkles of jokes here and there. They work better in short doses. The Mickey Mouse/lawyer parody character was particularly amusing, as was the flower caster.

02/16/14 @ 19:46