KIDOU SENSHI GUNDAM: SUISEI NO MAJO SEASON 2

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ANIME ActionKidou Senshi Gundam: Suisei no Majo
MUSICslash

REVIEWS

• 

  vampirevore

  79/100
  Sophomore Slump or Comeback of The Year?

  This is primarily a review of just the second season (or second cour) of _Mobile Suit Gundam: The Witch from Mercury_, rather than a review of the show as a whole, but I do discuss a few spoilers from both seasons. If you want to avoid those, or just don’t want to have to read the entire thing, then feel free to skip to the last paragraph right at the bottom of the review, after the last rainbow breaker.

  ____

  I tend to do my best to stay away from any kind of discourse surrounding the anime that I enjoy, so I have no clue what the public consensus is on this season of _Witch from Mercury_, but I have the sense that it might be more divisive than last season proved to be in some corners of the internet. For a decent stretch of episodes it managed to build on what the previous season accomplished, mixing compelling character writing with great action and political intrigue in an immersive world, but as the season went on there were more and more cracks noticeable in these central pillars of the show’s appeal. If you're curious on whether this season lives up to its predecessor, or if it represents a slump in the quality of its presentation, I’ll do my best to balance the good and the bad to make it clear why I think it's actually a mix of both, and why I think it was and is still worth watching.

  If you happened to have also read my review of the previous season of this anime, you may recall that I spent a chunk of that review talking about how great the character writing was. Some of that still carries over into the second season, with the main cast generally reaching the inevitable endpoint of the paths they were on when we last saw them. There’s immense payoff and emotional impact in Suletta’s journey from being a blank slate for Prospera to impose her will on, to being able to take action independently from what people expect of her or how they may react. This being accomplished by reframing rather than wholly abandoning the perseverance that defined her character in the previous season of the show. Guel Jeturk - whose name will never stop being funny to me - goes through a similar reframing, with a return to his father’s company, but with a desire to do the right thing replacing his desire to prove himself. A lot of the characters in this anime find themselves in effectively the same place they’ve always been or even always tried to escape, but in completely different circumstances after confronting the delusions that once held them as prisoners. That progression might seem to take place a bit too quickly in some cases, with Miorine getting over her slump almost instantly - at least from the audience’s perspective - but it never feels unearned or out of place. Well, never may not be the right word there, as the faster pacing of the last half of this season does result in moments where character motivations start to get a little lost or muddled, like Lauda’s arc towards the end in particular, and even Shaddiq to an extent.

  Rushed pacing took away from the appeal of the show and made the last few episodes a bit of a mixed bag. For one thing, my enjoyment of action scenes a lot of the time is tied directly to how much I care about the characters involved in those scenes, what they have to lose and what it is they fight for. When you have Lauda and Guel in this pointless feud in the final stretch, it’s difficult to even bother paying attention to what’s going on, likewise with Shaddiq somehow blaming and attacking Guel for certain developments that take place on Earth. It felt like the show was missing a few scenes to bridge the gap in the characters’ logic between what occurred and how they reacted to it. I understand that what ultimately matters the most is not whether a character is strictly rational, but whether that character is believable and consistent. My constant criteria for what I consider good character writing is "does this make sense for this character in this situation, with the information available to them?" In the first season of the show, the answer was always a resounding yes, but here we ended up with different points where - for the sake of advancing the plot or artificially progressing the character - that wasn’t always the case, and again it just made the action that much weaker for me as a result. For what it’s worth though, the pure visual spectacle of it is as great as ever, if not even better, with brand new Mobile Suits and Gundam units coming into play in well choreographed and animated battles.

  One last note on the character writing, the first half of this season is really _Witch From Mercury_ at its best on that front, with a number of supporting characters getting to shine. Chuchu routinely coming in as the voice of sanity to hold Suletta and Earth House at large together was a wonderful thing to see, and honestly the highlight of at least a couple of episodes. Sophie and Norea were also welcome additions to the main cast for a period of time and got substantially more development than I expected they would from the roles they had in the attack on Plant Quetta. For the few out of place character motivations or choices we get an abundance of emotionally engaging and interesting characters and scenes from the start right through to the end, and it’s important not to lose sight of that. Everyone here has flaws and fears that make them feel human, and that make their high points or happiest moments resonate so strongly, even Elan has a positive, heartwarming moment in choosing to carry the spirit and will of another character with him, reconnecting with the value of human life in general, and his own life. I can’t emphasise enough that just because there’s a few missteps doesn’t mean that this season completely shat the bed on this aspect of its character writing

  Moving on from the characters to address the setting of the story itself, we have another instance of the show suffering because it tried to do too much too fast to reach its endpoint. I loved how both the prologue and the first season only gave the audience the essentials in terms of worldbuilding so as to make the anime immersive but not overwhelming, but this season shows the limits of that approach in the long-term. As things stand, I actually no longer think there will be another season, so for the time being the Assembly League almost coming out of nowhere and disturbing the internal politics of the Benerit group, which itself had just begun to reap the effects of having intervened against the Vanadis institute, created an interlocking chain without an easily discernible start or endpoint when it comes to the different factions in this world. I just ended up not sure who was even on what side anymore at some point, and what their roles were in relation to each other. When you start to cram in so much stuff, explaining or introducing things a bit more beforehand is quite helpful, and probably would’ve helped make the experience of watching this weekly more seamless. With all of that said, I think the role of the Assembly League works quite well thematically even if I’m not quite certain of its position in the narrative, and that leads on into a brief glance at what makes this anime so great even when other aspects of its writing start to falter a little.

  If the core focus of the original _Mobile Suit Gundam_ series was the dehumanising nature of war, then _Witch From Mercury_ shifts that focus onto the role of corporate interests in deepening and perpetuating wars. Through the system of war partitioning, the different arms of the Benerit Group - as well as presumably other competing corporations - are able to fund the conflicts that have left the people of Earth under constant threat of violence and exploitation. This occuring while those same people have no say or influence whatsoever over the corporations that profit from selling weapons and technology to their proxies on Earth. The Assembly League, while ostensibly some kind of overarching government, is merely an extension of this system for mediating corporate rivalries, as it only finally makes its move against the Benerit group not as a neutral arbiter but as a tool to further the interests of one corporation over another. If this does turn out to be the end of the show as a whole, then it does leave something to be desired in terms of fully expressing or demonstrating its ideas on both corporate greed and the symbiotic relationship between corporations and governments, but the final episode does end on what could be an ideal path forward in the upliftment of the Earth. The “Earthian” quest for freedom didn’t get as much of a spotlight as it perhaps could have either, but different ideas of freedom remained as the core motivating factor for the decisions undertaken by the different members of the main cast. It’s not a coincidence that the physical form of Quiet Zero that we do get to see in the show resembles a coffin, drawing attention to the irony of Prospera’s methods when you consider that her explicit desire is to use it as an instrument for freedom.

  Lastly, it would feel kinda weird to talk about this show without talking about Suletta and Miorine _together_, but if you happen to not care much for what I have to say on their relationship, or you want to avoid spoilers on the possible status of that relationship, you can keep reading without clicking on the text that’s in the spoiler tag below: Right from the first episode of this anime, the prospect of Suletta and Miorine getting married by the end was undoubtedly near the top of people’s minds while watching the show. Their interactions with each other were some of my absolute favourite moments in just about any anime I’ve watched, as in _ever_, so I’ve been worried all along that something would happen that’d obviously feel forced in order to separate the two of them so the official line could be “they were really good friends.” So while I’m sure there’s people who haven’t been happy with how much of this season they were kept apart for, or how we didn’t actually get to see their wedding if it has happened already, I’m personally just overjoyed that we did actually get both a happy ending and the one that made the most sense to anybody with eyes and a brain. The way that their support of each other has always been unconditional and absolute, the way that they were both able to free each other from the shadow of their parents, everything about it was perfect to me, and they truly got the ending they deserved. It’s another instance where a lesser story may have taken the chance at different points to manufacture some tension or conflict between them, and another instance where Witch from Mercury does not compromise the integrity of its own characters.

  ____

  With all that said, this season of _Mobile Suit Gundam: The Witch from Mercury_ had a few rough moments, and perhaps tried to do more than it realistically could with its allotment of episodes, but even when the cracks started to show thanks to patchy pacing, it still held on to the themes and engaging characters that were a big part of what kept me watching the previous season anyway. If this is indeed the end of the show, then it may not have gone far enough in expanding on certain threads and ideas, but it delivered enough to be both a worthy successor and a satisfying end for anyone who was a fan of the prior season. For that reason it gets a score of __79 out of 100__, a bit of a step down from the first season, but still more than worthwhile both on its own terms and as a continuation of the story.

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• 

  SpiritChaser

  40/100
  The first episode of Turn A Gundam is better than this entire anime.

  The return of Gundam Witch From Mercury was something I had some high hopes in. Season 1 ended giving me the impression this was going to get intense. Sure, it somewhat did. Still, it was mostly a let down where I felt nothing besides frustration and 0 emotions for this anime for a while until the end. Recent mecha has done very little for me overall. 86 was painful to get through, Kyoukai Senki was worse, Sakugan was a lie and embarrassment, Rumble Garanndoll imploded and then I dropped it, Macross Delta proved to be the worst Macross entry for me after watching it all, Muv-Luv and Back Arrow were "okay," etc.

  Despite this, it wasn't all that bad. Megaton-Kyuu Musashi emerged as a multimedia project that tried to bring the spirit of anime like Gurren Lagann back, among much of the other mecha and space operas it often referenced, such as Space Battleship Yamato. I was surprised and pretty pleased to see something get it right. The worst part? No one watched it because no one really looks for anime in an age where there are so many "weeds" you have to get through to find something good. Even Birdie Wing: A Golf Girls' Story, that deliberately felt like a Gundam series, proved to be a great modern anime. But it's a "sports" anime about golf. It's not surprising the treatment this got. We were also graced with Tomino's new movie projects on Gundam Reconguista in G, which I am more than half way into, and really enjoying so far.

  To get straight into it, Prospera was the character I came to like the most. The expectations of the "Char clone" were how she was being measured. Every time time she talks to someone it's coming from this sarcastic, condescending place where she knows something really important that you don't. She planned things out really well at first. It's like she plays out several possible scenarios in her head so that she always has some technicality or legal reason to justify what she is doing. There was a point where it became funny to me because she is always smiling. However, the last few episodes of Witch From Mercury-and the worst ones, in my opinion-ruined her character. I felt baffled how poorly thought out her actions were towards the end after she had created such a clever image of herself.

  The "appeal" I see about this anime is sorrowful. The "Utena" approach resulted in the bride and groom of Miorine and Suletta. First of all, this and they felt barely explored. A lack of exploration I think explains a lot about this anime. It pulled in those communities that are into these types of stories, so it did its job. Miorine doing nothing but mostly crying for episodes on end felt like a waste for the potential of her character. Suletta finally graduated from being the annoying crybaby she was in season 1. Now, her overpowered Gundam magic so conveniently saved the day that it felt too convenient. It made me feel they were rushing in the finale to resolve the final conflict. Slowly, I saw this train wreck unfolding right before my eyes.

  So much wasted potential, really. I thought Shaddiq would do more than sit down and smile like a clown for episodes on end. I thought Chu's character would go somewhere than just being unnecessarily angry all the time. It was annoying. I appreciate that at least Guel's character went through an interesting arc, though he gets resolved early and got sort of shafted to the side almost completely after that. I found it comical how certain characters practically "get away with it" by the end.

  One thing about Witch From Mercury that I haven't seen in modern mecha lately is what it does with violence. Though it was able to get violent at times, it was still child's play compared to the violence of anime such as Tomino's Gundam, or his Space Runaway Ideon, that will probably never be challenged for it's horrifying, yet beautiful approach. At least for me, Witch From Mercury isn't the worst Gundam I've seen, as trash such as Twilight Axis exists.

  In criticizing this, I am not being "negative." I should be critical. I could "turn my brain off" and give everything 10s and only point out the "good," but I wouldn't want to delude myself like that. I think it's important for me to think and distinguish what I think is good, and what I think is bad. And this has no significance to the audience in terms of what they should think. Why? because like I've said before, there will always be someone who will like something you don't, and dislike something you like. We have to come to terms with this and stop fighting over it. What I can do, is at least find people who understand where I am coming from and who can relate to me. That's more important than trying to dictate and be an authority on the quality of something.

  There is hardly anything else I can say I enjoyed about this. On the brighter side, this has introduced Gundam to many of the new generation, and I'm sure many will feel inspired to watch the original 0079, and make that pilgrimage to at least Turn A Gundam. Speaking of Turn A Gundam, the first episode alone is better than this entire anime.

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• 

  Leafer

  79/100
  I thought the magic was meant to be metaphorical, not literal.

  I admire The Witch From Mercury. Not only did it introduce me to Gundam (something I have found great interest and enjoyment in) but even among the larger Gundam franchise, it stands out as the instalment that most resonated with me and the world as I know it. Indeed, the concept of the expansion into space being a corporate matter more than a national one as well as corporations outgrowing themselves is the reality of our world and, naturally, this opens up the horrific possibility of war for profit.

  Personally, this concept of corporate expansion into space where, after the resource exploitation of Earth, it is now grounds for proxy wars to generate more and more profit is far more fascinating than some national, racial, and fascist conflict that is little more than historical fantasy re-imagined in space-age. Whereas, the school setting is an especially interesting part of this class division wrought from the wealthy exploiting the poor as it represents the discrimination that festers in the young and the possible ways the differences can be overcome through mutual understanding, communication, and overcoming difficult times and conflicts together early on for the sake of a better future. Even the biological matter of human settlement into space and the broader topic of disability are very interesting aspects of this show that you do not see every day.

  Even beyond the political, capitalistic, and biological themes, WfM's most outstanding aspect is, perhaps, its classically tasteful Shakespearean drama, fantastic metaphors, and the lesbian romance of the two protagonists and their fateful family drama. It is so tastefully accomplished, Suletta and Miorine’s romance is, where nothing is left to extravagant declarations of “I love yous” and kisses but rather the nuances of exchanges, desires, and declarations as well as the sacrifices and actions all for the sake of the other in the face of adversity and pain as they journey towards their happy ever after. It is all made further appealing by the familial conflicts and drama as well as the parental and sibling love and irony that I want to sing songs of praise for.

  Conceptually, it is masterful. Conceptually, that is. The execution, on the other hand, is somewhat problematic.

  Ah, but, I will say that it is not what it does that is problematic nor how it does it, per se. No, rather, the problem is that it is entirely too cramped. There is so much to do and so much to explore but not enough time to properly accomplish them. It gets to the point where it feels like literal space magic was used to conclude the story in the face of such constrictive timeframe. Indeed, “rushed” is a fitting description as it would have much benefited from taking its time to address its different dimensions, conflicts, and characters with more care and thought because, as it stands, a lot of said matters are “gotten over with” instead of seen through to the end.

  Furthermore, while it does try to normalise the aforementioned lesbian romance of its two main characters, in that no one questions the fact and at least one other girl tries to win Miorine’s hand in marriage, it also plays it safe and leaves Suletta and Miorine’s romance to nuances and subtexts a bit too much when juxtaposed with the heteroromantic love-interests, giving the impression that while it does do its part in trying to normalise the lesbian romance of its main couple, it still maintains the heteronormative narrative.

  Ultimately, the Witch from Mercury is a somewhat misjudged endeavour. It is masterfully conceptualised but the timeframe to accomplish its concepts is miscalculated - where it will leave you thinking: I thought the magic was meant to be metaphorical, not literal, as it wraps its story. In spite of this, though, Miorine and Suletta’s romantic journey is tastefully accomplished to a happy ending and is worth the show.

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