Macross Delta

What’s it about ?

This is another iteration of a franchise that’s three-decade-and-a-half old at this point, but hasn’t had a proper TV series since 2007. Also, this won’t actually start until next Spring, but a “preview special” with most of the first episode aired over the holidays, so here we are.

For added fun, I’ve never actually watched any Macross ; I assume that by now there isn’t any particularly tight continuity beyond the general framework of “space opera with mecha and idol singers”, and this should be relatively accessible on its own terms. (Similarly to how Gundam reinvents itself every few years.) If not, well, it’s the show’s funeral.


Hayate, our male lead, is a slacker who’s just got fired from his slave-wage material handling job on some random backwater planet. Since this is his last day, he might as well enjoy it, and so he decides the best way to unload containers from a starship is to have his workplace mecha dance to the tune of super-famous idol unit Walkure’s greatest hits. As you do.

Freyja, our heroine, is a stowaway he finds in an apple container. She’s a HUGE Walkure fangirl and came here because there’ll be auditions for a fifth member in a week. Except she got to the wrong planet. Oops. For added fun, security forces are on edge because of random outbreaks of the “Var Syndrome” plague, which makes people suddenly go berserk and wreak havoc out of nowhere. Obviously, an illegal immigrant like Freyja is seen as a big security and sanitary risk. Cue chase scenes, with a somewhat befuddled Hayate helping her out because hey, what the hell.

As it turns out, Walkure are also undercover on this planet right now, investigating the Var outbreaks. They’re not just idol singers, but also the key members of a military unit fighting the plague off. The idol thing is way more than a cover : they’re basically magical girls fighting the plague with the Power of Song ! (With their bodyguards providing support from fighter jets and/or mechas.)

It’s obvious from the start that Freyja is indeed quickly going to become a new Walkure member, with Hayate as her bodyguard ; the preview stops just after a cliffhanger that gives a clue of how that’s going to happen. (Also, it’s plain to see that, in the same way that Walkure’s songs soothes the Var victims, it’s someone else’s song that also starts the plague in the first place.)

There are also a bunch of dudes who start bombing Walkure out of nowhere. Presumably they’re going to be explained in further episodes.

Production Values

Very good. Sure, this isn’t the entire first episode, and we’re still missing proper OP/ED sequences, but it looks great, the action sequences flow well, and the animation has tons of energy.

Also, for a series built around idol songs, it actually sounds quite good ; Walkure’s last song as the credits run is quite catchy indeed.

Overall Impression

This is an impressive start. I have no prior knowledge of the franchise, and this didn’t impede by enjoyment at all. It’s got fun characters, a fun premise, and enough energy to carry my goodwill along without breaking a sweat.

I’m totally watching this when it actually comes out, in April or something.

Source: [In Which I Review] New anime, Winter 2016

Mobile Suit Gundam – Iron-blooded Orphans (Kidou Senshi Gundam: Tekketsu no Orphans)

(25ish episodes ?)

What’s it about ?

From the people who brought you Toradora and AnoHana ! And it’s indeed almost, but not quite, entirely unlike those shows.


Oh, dear. This has the very common modern Gundam flaw of introducing all at once dozens of characters in various factions, speaking in exposition only they can understand, and I spend half the episode trying to catch up. I don’t care that this is more “realistic”, as it’s bloody awful storytelling.

Anyway, as best as I can discern : this is the future, and there are colonies on Mars extracting stuff. The political landscape is a bit of a mess, with some people wanting independance from Earth, and some Earth factions wanting to squash this in the egg.

Kudelia Aina Bernstein is the young face of the independence movement. Which is ironic, considering she comes from a rich family which made its fortune from its links with Earth. Today they sell her out, giving the anti-independence faction intelligence about her visit to a random Mars settlement, and thus ample opportunity for something unfortunate to happen.

Said settlement does have a PMC hired to provide protection to her, but most of the senior officers run away after the super-modern mecha start showing up to attack. So it’s up to the teenage orphans making up the bulk of the grunts to try and stand their ground.

Orga is their de facto leader. He’s awesome, and a great tactical thinker. It’s very impressive how he manages to stall the attackers despite his pals having much inferior equipment.

Mikazuki, his best friend and loyal follower, is named in the promo material as the actual protagonist, but so far I’m not really seeing it. He does save the day by piloting the relic Gundam they had rusting in a basement, though, but that’s just following Orga’s orders ; he barely gets three minutes of screentime overall.

Biscuit, the heavyset guy with impressive technical know-how, is a much more active and initiative-taking member of the group. He’s a lot of fun, and I like how he contributed to setting the attackers onto the cowards who abandoned them.

Production Values

It’s Sunrise doing mecha, so of course it’s very competently executed. Also, for some reason all the kids are piloting their vehicles shirtless.

Overall Impression

Urgh, that first half…

But once the attack starts and we get to see Orga in action, the show finally clicks together. Suddenly the kids’ chemistry shines, the obscure political manoeuvring becomes crystal clear, and I actually start caring what happens to our protagonists.

I’m watching all of Gundam anyway (see my sig), but there’s a decent chance I’ll actually enjoy this one.

Source: [In Which I Review] New anime, Fall 2015 – Page 2

Anime from 2000 : The Leftovers

Over the course of this project, there were a number of show I decided not to cover, or just couldn’t. Those were :

  • Sequels to earlier shows (and thus not NEW shows). There’s a few spin-offs I still chose to try and cover for significance reasons, but overall I skipped most of them.
  • A good number of kids’ shows that just weren’t available in any form (even in massacred English dubs). Those I had no option but to skip entirely.
  • Also, I didn’t do OVAs and movies. Sorry, FLCL.

So, here follows a list of everything I didn’t review :

#03 on the list is something called Mon Colle Knights, adapting some collectible cardgame. It’s the first of the many kids’ shows I just couldn’t get any hold of for this project. Not that I’m really heartbroken about it.

#05 is OH! Super Milk-Chan, a sequel to a 1998 comedy kids’ show.

#08 is Ojamajo Doremi #, the second season (out of four) of the magical girl franchise that eventually left way for Precure.

#10 is Digimon Adventure 02, which feels enough like a straight sequel of the original (unlike, say, Tamers) that I am not covering it.

#14 is Hidamari no Ki, an adaptation of a late Osamu Tezuka manga about the friendship between a samurai and a doctor in the Edo period. Unfortunately, I haven’t been able to find a copy of even the first episode of it. A shame, as it sounds quite interesting.

#15 is Doki Doki Densetsu Mahoujin Guru Guru, a sequel to a 1994 kids’ show adapting a manga lampooning Dragon Quest-style RPGs. It actually sounds quite fun, but it’s outside the scope of this project.

#21 is Inspector Fabre (Fabre Sensei wa Meitantei), another kids’ show I couldn’t lay my hands on.

A few words on #22, Banner of the Stars. It’s basically part two of a trilogy of anime adaptations of a light novel series, so it’s outside the scope of this project. But I should note that it’s the weakest chunk of this S-F saga. Crest kept things close and personal to its lead couple ; Banner II also had a tight focus as they dealt with a prison planet. Banner, on the other hand, throws them in the middle of a massive military campaign, depriving them of agency and relevance in their own series. It’s got its moments, but I found it distinctly less enjoyable.

#23 is yet another unavailable kids’ show, Taro the Space Alien, adapting a children’s manga.

#28 is something called DinoZaurs: The Series, which is apparently a sequel to a few OVAs that were bundled with a toyline that’s also known as “DinoZone”. Anyway, I couldn’t find it, and I had no inclination to dig too much.

#29 is Medarot Damashii, the second season of the adaptation of the Medabots RPG videogame franchise.

#35 is Mr. Digital Tokoro, a full-CG-animated series of shorts (130 3-minute-long episodes) based on comedian Tokoro George. (A guy famous enough to lend his name to half a dozen Mahjong videogames ; he also dubs Homer Simpson.)
Frankly, this sounds dreadful, but I couldn’t find even one of them.

#43 is Shin Megami Tensei: Devil Children, an adaptation of that RPG franchise’s attempt at emulating the success of Pokémon, with simpler gameplay more accessible to kids. It got a sequel in 2002, adapting a further game (and apparently having a troubled production). Anyway, I couldn’t find it.

#44 would be Baby Felix, a spin-off from the old Felix the Cat cartoons (which were apparently popular enough in Japan). Again, I couldn’t find it.

I thought I had gotten my hands on #50, Dotto Koni-chan, but my copy has no subtitles. It’s a comedy kids’ show about kids messing around and getting into hijinks. It’s mostly notable for being animated by studio Shaft before they became SHAFT, and directed by Excel Saga‘s Nabeshin himself. It does look kinda fun.

#51 should be Pipopapo Patrol-kun, a kids’ show featuring a friendly neighbourhood cop that might have been educational if I could have laid hands on it.

Our final and 52nd entry would have been Suteki! Sakura Mama, a series of shorts I could find nearly no information about. A bit anticlimactic, eh ?

#36 : Vandread

(13 episodes, + 13 for the second half a year later)

What’s it about ?

Space opera. With a literal war of the sexes ! For a few generations there’s been a complete separation between the Male Empire and its female counterpart, with enough hysterical propaganda to keep the war going for a while.


Hibiki, our protagonist. A third-class citizen in the Male Empire, his job involves building parts for mecha. He made the foolhardy bet with his co-workers/bullies that he could steal a completed and brand new mecha from the cargo hold of the warship about to join the front ; and he might have gotten away with it if the jingoistic commander-in-chief hadn’t ordered a launch two hours ahead of schedule. On the other hand, he’s resourceful enough for an attack of the female forces on the ship to be enough to spring himself out of the brig. (Into a warship full of female shock troops easily overpowering the taken-by-surprise male crew, but them’s the breaks.)

Other noteworthy members of the crew include the cowardly heir of the Food Company (more interested in shilling his crap than acting like a real soldier), and a tall loner who makes a point of peacefully engaging their captors (“I’m a doctor”) and looks like he’s got an agenda.

Dita is a pilot amongst the female forces who crashes her fighter halfway into the starship (oops). She then runs into Hibiki, whom she seems to be trying to catch as a pet. (The language barrier seems a bit inconsistent ; those two clearly don’t understand each other, and only a few elite female soldiers can decypher male script ; on the other hand, the female troops don’t seem to have too much trouble handling their prisoners…)

And then the male commander-in-chief triggers the warship’s self-destruction (from the half of it that safely detached itself) ; most of the female forces manage to evacuate in time, but Hibiki, Dita and a couple of her teammates get sucked into a space wedgie…

Production Values

Fairly impressive. The CG integration looks a bit clunky nowadays, but it isn’t too distracting, and the traditional animation shows off some good cartooning skills, with tons of little gags always happening in the background.

It’s thus a bit disappointing that, under their entirely sensible and suitably alien-looking spacesuits, the female soldiers wear weirdly fan-servicey clothes.

Overall Impression

Wow. This is a dense first episode, introducing its premise and a good number of characters while still moving the plot along at a brisk pace ; it’s also packed to the gills with world-building. (For example, there’s a throwaway line between male extras that suggests they can somehow have children together ; this is a stark contrast with the female “let’s capture some dudes” tactics, which itself is clearly at odds with the Male Empire’s propaganda that demonizes females so much I can’t see it having the same needs. There’s just so much implied about this universe’s bizarre politics in all this, I’m really curious.)

As a result, the episode sometimes devolves into montage, such as this curious scene where the screens behind Hibiki broadcast a flashback of his as he’s busy infiltrating the warship. It feels like something from a Shinbo anime, symbolic and weirdly surreal… and hey, if it helps making the exposition more fun and visually interesting, I’m all for this kind of thing. You just go along with it ; it’s not as though the show is particularly realistic anyway. I get the impression it’s something of an indictment of modern Japanese jingoistic politics… because like all good S-F, it’s more interested in commenting on the present than predicting the future.

As you can probably guess, I found this lovely. It’s not flawless, but there’s enough going on here to keep me enthalled. And, you know, it’s very funny indeed.

Source: [In Which I Review] Anime series from 2000 – Page 10

Space Dandy

(26 episodes)

What’s it about ?

Shinichiro Watanabe (Cowboy Bebop, Samurai Champloo) makes his grand directing return (let’s all politely ignore Kids on the Slope) with a comedy S-F series he’s described as “26 episodes of Mushroom Samba”.

This isn’t false advertising.


Space Dandy, our protagonist, makes a living exploring the universe to catalogue exotic alien species. (From what I understand, he’s a freelancer working for some governmental office.) If these travels coincidentally happen to make him visit every single space restaurant of the aptly-name “Boobies” franchise, well that can’t be helped, can it ? If you haven’t twigged by now, he’s a lecherous lout, and not exactly the sharpest bulb in the mixed metaphor ; but he’s got the charisma to kinda get away with it. Well, just barely.

QT is his long-suffering robot assistant. The poor thing is so obsolete it has to read books to keep up to date. Still, by default it has the highest IQ in the spaceship, and so it’s stuck being the straight man robot to Space Dandy. And complaining about the crappy unhelpful narration.

“Meow” (real name unpronounceable) is a cat-alien that Space Dandy initially mistakes as a rare species. He’s not ; he’s a completely ordinary Betelgeusean. But he vaguely remembers a place with exotic aliens, so our heroes take him for a ride. After a trippy journey that involved accidentally unravelling the fabric of spacetime, it turns out that this is a very dangerous place indeed.

Dr Gel is an agent of the Gogol Empire (*snicker*) who’s tracking our hero because he’s the Key to the Universe or somesuch nonsense. Now, I hope he survives being summarily executed by his boss for losing track of his target (during the spacetime havoc previously mentioned), as the design for his ship is so amazing (the Statue of Liberty’s head in bondage !) that I want to see more of it.

Production Values

Very impressive indeed ; it’s bursting at the seams with creativity and style, and the wild action sequences have to be seen to be believed.

It helps that Yoko Kanno turns out one of her best scores in ages.

Overall Impression

Warning : this is a very dumb show that starts with Space Dandy monologuing about how butts are better than boobies. It sets the mood : every character in this is a moron, and haphazardly bumbles from mishap to disaster. You’ve been forewarned ; the stupid is deep in this one.

This being said, it’s every bit as good as you’d expect from its pedigree : there’s nothing wrong with plain dumb fun, and Watanabe is a master of the form who knows how to produce a damn entertaining show. He somehow manages the tour de force of making Space Dandy somewhat bearable as a character, despite all the boneheaded actions he does during the course of this episode. (QT and even Meow savagely mocking him helps.)

Everything it’s been hyped up to be, and then some. Definitely one of the best shows of the season already.

via [In which I review] New anime, Winter 2014 – Page 3.

Valvrave the Liberator (Kakumeiki Valvrave)

(12 episodes + 12 episodes this Fall)

What’s it about ?

Our third sci-fi mecha show of the season.


Haruto, our generic high school protagonist. Except this is the FUTURE! so his high school is on a gigantic space station near Earth. It’s supposed to be neutral grounds, so of course it gets attacked by an agressive Earth faction right as the series starts.

Shouko, his not-quite-girlfriend. She’s vastly more fun and charismatic than him, so of course she gets killed off halfway through the episode so as to provide him impetus to act. /facepalm

The villains have sent out a squad of five teenage soldiers to infiltrate the space station by posing as high school students. (“Wait, weren’t there supposed to be only two transfer students ?” “SLICE!”) Those guys are ruthlessly efficient, but still human enough to get temporarily sidetracked into arguments with the students they cross paths with. The full-blown mecha attack from the outside is actually a diversion so that they can locate and get theirs hands on…

The Valvrave, a secret high-tech mecha which is for some reason housed in the basement under the school (neutral, my ass !). It’s the kind of mecha which includes “Do you want to resign as a human being ?” in the boot-up sequence. Of course it’s Haruto who ends up in the cockpit instead of the infiltrators.

There’s a dozen other students who get enough glimpses of screentime to indicate they’ll be part of the regular supporting cast.

Production Values

Sunrise can produce decent mecha action in their sleep by now, so it’s nice to see them not half-assing it. This is a very nice-looking show, with the colourfulness sharply contrasting with the bloody action.

What did I think of it ?

Damn it. Fridging your most prominent female character right from the onset ? Not cool, show. I rarely get angry at anime series, but this really isn’t a good way to start off. (Yeah, I know it’s ambiguous enough that Shouko may just have been blown clear of the explosion. But I fear that’s just wishful thinking.)

Which is a shame, because this is otherwise a good opening episode, packing lots of plot inside 22 minutes. The infiltrator squad are a really fun bunch to follow, and the post-credits coda is very well-executed indeed.

It’s a very promising show ; shame about the bad taste it left in my mouth…

via [In which I review] New anime, Spring 2013 – Page 14.

Gargantia on the Verdurous Planet (Suisei no Gargantia)

(12 episodes)

What’s it about ?

Gen Urobuchi does mecha.


Red, our protagonist. As one of the most promising young soldiers of the Galactic Human Alliance, he’s soon due for some limited citizenship (which includes real sleep and reproduction rights) and a few weeks of leave at the paradise space colony of Avalon. (Thank gods Urobuchi claims he’s not doing grimdark, otherwise I might have mistaken the GHA for a hellish dystopia). Of course the next battle against the aliens goes to hell in no time, and his escape hyperspace jump goes utterly wrong.

Chamber, his mecha’s AI (the always impeccable Tomokazu Sugita can make even dry exposition and straight-faced statements of facts sound slightly sarcastic). It wakes Red up from six weeks of deep hibernation when the inhabitants of the place he’s wound up on try to do stuff on the mecha.

Amy, the young perky girl (with the mandatory cute critter perched on her shoulder) who seems to be the one who found the mecha. She is trying to have it dismantled so that she can sell the parts, but none of the mechanics are having much luck even scratching the thing. Red takes her hostage after he’s found lurking around, on the basis that those primitives will have less incentive to shoot him while he tries to figure where the heck he is. (Er…)

We’ve got hints of a supporting cast, including Amy’s prospective buyer or the lady who runs the place.

The big twist he finds out about at the end of the episode is that this isn’t some random independent backwater colony : this is Earth, where humanity is fabled to have started from !

Production Values

Very impressive indeed. This features some very good and expressive character animation, and oozes money from every shot. In contrast, the space mecha battles appear oddly stilted, with the very static camera far from handing a candle to the hyper-kinetic action of Majestic Prince, for example. But that’s nitpicking.

Overall Impression

Well, it’s going to be hard to top this as best show of the season. It’s a smooth, perfectly executed on every level production, with dialogue that’s not without a sense of humour. (“They appear to be talking about reproduction with one’s mother.” “Barbarians !”) The culture shock is bound to be fun, and I’m curious about what the plan is with the GHA’s obvious problems as a civilization.

Definitely a keeper.

via [In which I review] New anime, Spring 2013 – Page 8.

Majestic Prince (Ginga Kikoutai Majestic Prince)

(24 episodes)

What’s it about ?

Space mecha.


Our heroes are a team of mecha pilot trainees, known as the “Rabbit Team”, but mostly as the “Fail Five”, as they just don’t work well together. There’s Asagi the aloof ace who runs into battle without thinking, Ataru the nerdy gunner, Tamaki the childish and boy-crazy point-girl, Key the jaded analytical girl, and Izuru the “leader” (whom nobody acknowledges as such).

Lt Suzukaze, their training officer, isn’t the last one to constantly remind them that they’re crap. So she’s very surprised to learn the brass want them to immediately go on the frontlines with cutting-edge mecha to save their assieged forces from the dastardly baddies.

The catch is that those experimental mecha are very unstable, and they only need to distract the enemy for half an hour so that everyone can be evacuated. Hence why they send disposable newbies.

What nobody expected is that (1) Izuru would decide to play hero to save all those civilians the brass “accidentally” forgot to mention wouldn’t be evacuated, and (2) that he’d actually pull it off, frightening the aliens enough to force their retreat.

Yay ?

Production Values

Very impressive. It’s got tons of budget for the mecha battles, and it shows (although the CG is very obvious).

I also really like the recurring narrative device of quickly sliding the camera horizontally to catch each of the five’s reaction/quip on whatever is happening. It’s funny and the animators vary the facial expressions enough to make it work.

Overall Impression

Well, this was fun. It’s also completely empty of substance, with everyone being depicted with broad strokes verging on caricature. But it does establish its premise and characters properly, so there’s that.

I’m however mildly concerned by how it tells us rather than really shows us how the 5 really suck, especially as they seem surprisingly competent for their first real battle.

Still, it’s a decent effort, and unapologetic about what it is. As popcorn entertainment, it works.

via [In which I review] New anime, Spring 2013 – Page 3.

Bodacious Space Pirates (Moretsu Uchuu Kaizoku)

(26 episodes)

What’s it about ?

In the far future, after mankind spread into outer space, there was a big war between the central power and the most far-flung colonies. The separatists were so out-matched they had to commission space pirates to undermine their enemy. It’s now been about a hundred years since the war ended (and the show is pointedly not telling us how it ended, besides implying it was somewhat ludicrous), but some of those space pirates are still around somehow. Although given that their license is currently under review, this may be about to change…


Marika, the teenage daughter of the captain of the main pirate ship still around, although she didn’t know that. Daddy died a couple of days ago, and the law says the ship goes to his next of kin, so suddenly the crew is stalking her and innocently asking her whether she’d like to visit outer space. Marika’s nonplussed by the whole thing (“Wait, there are legal pirates ?”), but outer space does sound cool.

Ririka, Marika’s mother, used to be part of the crew, but the implication being that she settled down after having her daughter. (But given that we later get a short look at her working in a military uniform, she’s hardly the stay-at-home kind.) She enjoys seeing the old crew again, and doesn’t have any qualms about Marika leaving with them… provided that’s what she wants, of course.

Kane McDougall, the navigator, somehow managed to become the replacement teacher for Marika’s class. Half to keep an eye on her, and half to discretely scout new recruits for the crew. Refreshingly, he immediately tells the class he’s married, and later notes he’d never had guessed dealing with high school girls could be so tiring, so that’s at least one bullet dodged.

Chiaki, a conveniently new transfer student who immediately starts stalking Marika. She does save our protagonist from a kidnapping attempt by a fake law officer (as well as a roomful of MIBs who were suspiciously lounging in the maid café Marika works part time at), but there’s still no hint of who she’s working for. (She’s voiced by Kana Hanazawa in “Everyone I’m talking to is an idiot” mode, which is always pleasant to listen to.)

There’s a token normal friend of Marika running around, and she’s prominently featured in the ED, but she’s yet to do much.

Production Values

Quite nice indeed. There’s something slightly retro to the character designs, which works well with the general atmosphere. Despite what you’d expect from the title, the fanservice level is quite mild (well, aside from that thing Kane’s colleague was wearing in the café).

The OP & ED sound like someone liked the autotune effects a bit too much, but I don’t have a problem with that.

Overall Impression

Perfectly pleasant, and with enough sense of fun for me to keep watching. I quite like that the show is immediately addressing the concept of “family-friendly pirates”, and I’m intrigued at what reason there is for them to still exist.

I didn’t want to place hopes to high on this, but so far it’s fulfilling them.

via [In which I review] New anime, Winter 2012 – Page 3.

Zone of the Enders – Dolores, I

(26 episodes)

What’s it about ?

A space trucker finds out that the dodgy shipment he’s carrying back to Earth is a hotly sought-after experimental mecha.


James, our protagonist. A war veteran (or so he claims) stuck into a dead-end space-trucker job, he’s at least well into his forties and got a not-so-loving family waiting for him back on Earth (at the very least, his teenage daughter wants nothing to do with him, and his son doesn’t even return his calls). The series goes out of its way to depict him as a washed-out loser, miserably failing at flirting with girls half his age, and drowning himself in booze. He does get some sort of epiphany halfway through the first episode, although given that his idea of reconnecting with his family involves purchasing an overpriced cat for his daughter and burying himself into self-help books (with his cabin increasingly looking like a pigsty as he does so), I’m not too optimistic on his chances of success.

Laia, James’s up-to-no-good contact who sets him up with his shipment. It’s hard to look more shifty than this dude, and James has enough history with him to know better than taking the gig. But overpriced cats cost money, so he eventually relents. (It helps that Laia’s backup trucker wound up mysteriously shot dead mere hours after taking the job – although Laia’s not telling this to James, of course…)

Dolores, the cargo. A fifty-foot-tall mecha that behaves and speaks like a teenage girl. No, seriously, she’s even shy about having a man “down there” (into the cockpit).

There are of course some shady people looking into taking hold of Dolores, with enough connections to infiltrate the UN space patrols.

Production Values

Perfectly watchable, and there’s been a lot of care put into background details to make the setup feel grounded in reality. The score is a bit dated and MIDI-ish, but it does the job.

Overall Impression

Wow, that was fun. I don’t know if it’s the novelty of having a “mature” dude as a protagonist, but I really enjoyed this. It’s not exactly deep or subtle, but this looks like a madcap romp in a relatively grounded space sci-fi setting. Despite being a loser, James is a compelling protagonist, and he’s already got lots of chemistry with Dolores.

Google tells me this is a sequel to an OVA that itself spun off a videogame franchise, but it seems to stand perfectly well on its own.

James in his natural habitat.
James in his natural habitat.

via [In which I review] New anime, Spring 2001 – Page 7.