Archaeon

If ever there was a word in visual media that the general public immediately distrusted, it's "spinoff". Experience has proven to many that a show, comic or novel that is derivative of a popular series is rarely as good as the original work, and the DVD bargain basement is littered with titles that were designed with one thing in mind - to cash in on the original work's popularity due to the lack of a valid sequel. Shows like Crusade (Babylon 5), Joey (Friends), Highlander: The TV series, Robocop: The TV series, the horrendous Baywatch titles, and a horde of others all attempted to milkextra profits from a cow that had gone dry. All is not lost though, as while it is rare that a spinoff can proclaim itself to be as good as, if not better than, the original work, there are some shows that do fit the bill. Frasier (Cheers), CSI: NY and Miami, Torchwood (Dr. Who), Mork & Mindy (Happy Days), and a small number of other titles are widely regarded as at least equal to the original works. Toaru Kagaku no Railgun can also add its name to that list.. Unlike Toaru Majutsu no Index this series is not actually based on the light novels by Kamachi Kazuma, but is instead based on a spinoff manga by Fuyukawa Motoi. Unlike the Index series the spinoff focuses on Misaka Mikoto, the "Railgun" from the original series. Once more the action takes place in Academy City as Mikoto and her friends are beset by strange earthquakes, conspiracies, friendship issues, and all manner of hijinks. Like the original series the format of Railgun uses an amalgamation of episodic and multi-chapter arcs however, much like Index, the series is also flawed in terms of its plot because of this. While the series has a reasonably enjoyable story, the tendency to jump from one focus to another like frog on a hot rock is detrimental to the flow of the plot. It's unfortunate as the format is similar to that adopted by GitS: SAC, however the big difference between the two shows is that where GitS: SAC provided food for thought, Railgun neglects this in favour of audience pleasing fillers (if the audience is juvenile that is). That said, the plot has some interesting aspects to it, however the lack of a timeframe means that viewers may become a tad confused as to the ordering of events, especially if one tries to correlate the occurences in Index with those in Railgun. The biggest downside to the format of Railgun though, is the fact that the more interesting aspects of the show are never fully explored due to the lack of focus, something which would have given this show the edge that it really needs. While the plot may have its issues, the art and animation for Railgun is definitely a step up from Index. The characters follow the design of the manga and the original series, and while this may promote a certain sense of continuity, it's also a downside as well, as the character design becomes a little stale over the course of the show (i.e. too much of the same). Backgrounds and settings are generally bright and colourful, and the scenery is very much in keeping with the style of the original series. The animation is generally smooth, however there are moments when the characters move in a truly ludicrous manner, something which can ruin a good action scene. The one thing I do question is the fanservice, as it's clearly surplus to requirements. Granted the series is nowhere near the same level as some I could mention, however this is a showthat didn't really need to go that extra mile just to please the fans, and the story would have been more enjoyable without all the pandering. Railgun is generally well served in the acting department. Satou Rina and Arai Satomi reprise their roles from Index as Mikoto and Kuroko, and they are joined by Itou Kanae and Toyosaki Aki (Saten Ruiko and Uiharu Kazari respectively), to form the main core of characters. However, while the actresses are all experienced, there are occasions when the roles are really "hammed up", particularly when it comes to relationship issues. As for the music, the show has a decent variety of thematic tracks which are generally well used when required, however there are also occasions where the music is clearly at odds with the on screen action. The generally upbeat style of music is reflected in the two OPs and two of the EDs used in the series. The ED for episode 12 is more melodic and has a slightly bittersweet sentiment to it which serves as a nice counterpoint to the ending of that particular arc. The biggest surprise of this series is the characters. In a strange irony, they are both the best aspect of Railgun, but also its worst. The lack of plot focus is, in part, made up for by the development of the main cast, especially Ruiko who, in terms of actual character growth, is developed more than the other three girls. Now many fans may argue with that perspective, however I will point out that of the four main girls, it's Ruiko who not only changes the most, but also endures the most. Now, I did mention that the characters were also the worst part of Railgun didn't I? Well, the reason for this is that while the characters do receive a degree of development, it simply isn't enough to justify their actions. The lack of plot focus only exacerbates the problem, and the show is littered with semi developed characters. In addition to this, the usage of comic relief based fanservice (e.g. Kuroko's behaviour towards Mikoto), washes away what little development had gone before. While the characters are engaging enough in their own way, the show could have done with putting more effort into the plot and characters, and less into making money from the hormone crazed masses. With all of the problems I've mentioned, many might think that I didin't enjoy Railgun, when in actuality, I did. The show is entertaining as a no brain action romp, and had the potential, along with Index, to be something truly great. While I may regard Railgun as a wasted opportunity, it isn't actually a bad show at all, and many people may find something to keep them insterested. In all honesty though, Railgun, like Index, had a great deal more potential than it actually delivers. The concept of both series is inventive and imaginative, however the execution, especially in Railgun, falls flat due to the desire to make money.The biggest example of how this impacts the show is the level of fanservice throughout the series (one whole episode, for example, is nothing more than a swimsuit buffet). It rapidly becomes obvious that the one of the main purposes of this series is to pander to hordes who love Mikoto, and while giving the public what they want isn't a bad thing, sometimes a show is better off not doing so. On the plus side though, at least Toaru Kagaku no Railgun is one of the few spinoffs that's as good as the original story.

Pumpkinification

Are the burdens of being special greater or lesser than the burdens of being ordinary? Academy City is a city that thrives on those who are espers -- who are special -- whether they already have powers or are trying to attain them. Everyone is reaching towards their ideal self, but some people don’t care what methods get used. The pursuit of the “next level” is absolute. If our limitations only exist so we can surpass them, should there be a limit to how far we can go to get there? Toaru Kagaku no Railgun, or A Certain Scientific Railgun, follows the events around Misaka Mikotoand her core group of friends and their exploits within the City. They are students, aiming to better their powers as espers. But in a city with a concentrated amount of people with special abilities, it’s only natural for the criminally-minded to try to carve out their own bit of power at the expense of others. To combat such an element and maintain civil order, the organization Judgment exists. Having a free-willed, ace-in-the-hole player like Misaka who keeps people in line all by herself doesn’t hurt either. Misaka (affectionately dubbed “Biribiri”) is one of the most powerful espers in Academy City. Her ability to generate and manipulate electricity makes her a force that most overconfident thugs learn too late shouldn’t have been reckoned with. Kuroko is her best friend, a crazy and hyperactive girl whose yuri-obsession with her beloved “Onee-sama” is hilarious despite constant rejection. Teleportation of objects (herself included) is her esper proficiency, making her one of the more menacing opponents to come up against, despite the diminutive and cute appearance. Uiharu is the demure techie: easily embarrassed, but a wizard at hacking or culling information from any network. As a member of Judgment, she is often the “eye-in-the-sky” for Kuroko when they take action. In a place brimming with espers, Saten is the most fascinating of the four. Her official designation is Level 0. She has no powers at all. Nevertheless, she attends classes and learns all there is to learn about being an esper. The teachers explain to the Level 0s like her that it’s possible to reach Level 1… but Saten always has a wistful look when the topic comes up. It’s clear she doesn’t have that kind of optimism. What does it mean to be that kind of outsider looking in? And how much worse is it to be in the middle of this incredible city, surrounded by so many exceptional people she’d love to be? Academy City is almost a character in itself. It’s hard not to fall in love with it. Clean, stylish, dotted with wind generators, a near-futuristic center of learning and advanced scientific research, all the while supersaturated with technology. The juxtaposition of seemingly sentient trash-collector robots and soda machines that only work if you kick them appears to point out that we’ll always have some low-tech around. Railgun fixes most every glaring problem that tripped up Toaru Majutsu no Index. Gone are Index’s occasional -- albeit entirely useless -- scenes where those involved in the higher echelons of running Academy City were up to some sinister, boring machinations. Fortunately, Railgun is much more down-to-earth. It also wisely limits the amount of talking that occurs during fight sequences. The action is left to unfold naturally, instead of cramming in reams of idealistic soliloquies that the Index villains probably weren’t even listening to. Finally, it does away with Index’s tendency to tell one mini-arc, followed by another mini-arc, followed by another mini-arc… ad nauseam that tended to make the show’s overall narrative out of focus and its pace too breakneck. The structure of this show, however, is a bit of an odd thing and does deserve to be mulled over. It begins largely episodic with only a scattering of episodes focused entirely on the more serious arc that concludes at the halfway point. The second half is much the same. I say ‘odd’ because it’s a unique structure I’ve rarely come across. Most non-episodic anime tend to follow the same format as any other narrative medium: an identifiable conflict or targeted goal at the outset; gradual complications along the way; an ending with the inevitable climax and resolution. Railgun mostly ignores that age-old wisdom. Twice. The four or five episodes that precede each climax are strong, focused, and exciting. So if the creators were so capable, why not follow the arcs in every episode? Simply put, it seems to be a stylistic choice -- and one that is as refreshing as it is surprisingly effective. It frees up the story, allows our perspective of Academy City to expand by degrees and the characters a chance to breathe. The importance of the latter cannot be stressed enough. After all, our heroines are living here primarily to learn. It’s a given that attending classes and socializing are going to make up no small portion of their day-to-day lives. That said, Kuroko and Uiharu’s work at Judgment comprises the larger portion. Most of the fun is watching them work on cases and hunt down perpetrators. Even though Misaka isn’t a part of Judgment, she often forces herself into the role of unofficial member. That she has this proclivity for beating up criminals isn’t so much that she’s a do-gooder, but rather that’s how she finds it easiest to protect her friends. She has an active investment in their well-being and specific meaningful relationships to lose if something goes wrong. This is, of course, all to say that it’s vastly more engaging to watch her and her cohorts, as opposed to a certain bed-headed, misfortunate guy with a chronic Helper Monkey Complex. I usually don’t mention voice acting, but the consistent excellence is such that I can’t avoid it. Toyosaki Aki easily hits her highest note yet here and in one pivotal moment gives an amazing, touching performance. Even the always-talented Tanaka Atsuko creates a character that is very special. So to avoid a laundry list of names, let me simply say that if some of your favorite seiyuu are involved, it probably wouldn’t be an exaggeration to urge you to check it out for that reason alone. The OPs are as highly-charged as Misaka’s railgun and the EDs are catchy outros after all the excitement. In fact, the songs that bookend the show’s second half are as good as -- if not better than -- the first half’s. And here I thought it was some sort of sadistic tradition in anime for second-half OPs and EDs to be lacklustre. The overall soundtrack is just as fantastic. Not only the music itself, but also its skillful use. At one point, a solitary piano begins playing, making us realize that since the episode started there hasn’t been any music. Instead of merely reinforcing the mood, it becomes the subtext that the characters can’t say. Later on when they connect to each other, a similar piano begins. As they are finally able to talk, more and more instruments are woven into the song as they become more and more desperate to express everything they wanted to say earlier. Sound effects are another design element that truly shine. There is something so perfect in the execution of Biribiri’s electricity and Kuroko’s teleportation. It isn’t that Index’s sound effects for these abilities were bad at all, but rather that in Railgun they have been refined enough to be a little addicting to listen to. Likewise, the action of the fight scenes is as much aural as it is visual. Impact is visceral, whether against concrete or someone’s face. The art is crisp and beautiful. The visual design is such that your eyes get drawn in, from a particularly huge parfait to some spellbinding fight choreography. Some close-up expressions of the characters are priceless. Unfortunately, certain distance shots of them can dip in quality. It’s a pity given the polished look of everything else around them, but comparatively speaking it’s easy to forgive as it doesn’t occur often. Railgun is an anime that starts with a cast of memorable characters, tells a very entertaining story, and has the privilege of doing so with laudable production values. The questions it raises are thought-provoking and relevant. Even when the story meanders into a stand-alone episode that has no real bearing on the plot, it is always with a sense of how it fits into the overarching frame. Like its characters, the story breathes. At times it runs; at times it walks. And yes, also like its characters, sometimes it takes that random detour and ends up discovering something wholly unexpected. While science plays a large role in the show, all its elements end up filled with quite a bit of magic. And that’s a certain kind of awesome.