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My Journey through Yuri, Part II

So, to be fair, this is the first anime that kicked off my midlife discovery of anime. And while Symphogear holds the top spot in my heart, Valkyrie Drive: Mermaid is a very, very close second. Symphogear fulfills my need for warm fluffy fuzzies and adventure. Valkyrie fulfills my need for... everything else: lesbians, sex, lesbian sex, humor, over-the-top-ridiculous premises, zero male characters, and just... literally everything. If Symphogear is comfort food, then Valkyrie is my favorite meal that is hella bad for me, but I just don’t care.

I don’t even remember how I stumbled onto this anime, but I thank the fucking gods that I did. I found it, watched the entire series one night, and again the next two nights with the girls. Also, thanks to this show, Diana taught me two important anime terms: ecchi and oppai. We’ll start here:

And so it begins...

Let me start here: you best be grown for this post. And you best be grown if you’re watching this show because damn they is a lot of sex.

The whole premise of this show is that girls infected with the Arm Virus are quarantined on islands away from the rest of the world. Infected girls can be either Extars or Liberators. Extars transform into weapons (”Arms”) that Liberators use or “drive.” And in order to transform, Extars must be sexually stimulated by a compatible Liberator. Yup.

I was actually concerned at first because I thought this setup had a lot of potential to have all the attitudes and ideas I find super squicky in anime (and in media in general): questionable consent, objectification, toxic relationships, etc. But I was pleasantly surprised that consent is actually addressed really well in the series, and overall, I thought it handled excellently so I wasn’t squicked out at all.

So, onto the characters:

Above you see our two main characters: Mamori, the red head, is an Extar. The blond, Mirei, is a Liberator. And as is seen above, they were meant for each other. That being said, bless Mirei and her heart of gold, because Mamori is real simple. If I have one complaint about this show, it’s that Mamori is that annoyingly innocent and oblivious and simple protagonist. You know the one. She’s that dog you have that can’t figure out how to push open a door with its nose even though it’s already mostly open anyway and whines until you get up and cross the room and push it open the remaining three inches so she can come in. Lord love her, she’s adorable and sweet, but just... not bright.

But Mirei is phenomenal. Despite Mamori’s obliviousness, Mirei is immediately staunchly devoted to her. All she wants to do is protect Mamori. She is tall and mysterious and proves to be a badass fighter in her first thirty seconds on screen. You can’t help but fall in love with her strength and stubbornness. And I’m a sucker for the strong but silent and awkward types. 

What I like best about their relationship is how Mirei automatically does whatever she thinks is in Mamori’s best interests or aligns with her desires from word one. She sees Mamori under attack, she places herself between her and her attacker. Mamori complains about a character being cruel to another, Mirei moves to put a stop to it. Mamori asks Mirei not to hurt some one, so she doesn’t. I’m not a big fan of “love at first sight” type shit, but I can’t help but just fucking adore Mirei’s instant devotion to Mamori. Not just her, but to her thoughts and feelings.

Next up, we have the dynamic duo referred to as “Lady Lady.”

Oh, I cannot say enough about these two. Lady Rain and Lady J. Both are both Liberators and Extars, able to switch between roles as the situation dictates. SWITCH, get it?? One transforms into a sword/gun and the other a badass motorcycle. They claim it isn’t the sex that allows them transform but the strength of their bond. It’s actually quite beautiful how dedicated they are to one another. Former members of a paramilitary government organization, they chose exile and quarantine over being tools of others.

Next up, we’ve got Meifon. Meifon is a schemer obsessed with making a buck. What I adore about her is that she is an asexual/aromantic character. On an island where everyone is fucking everyone all the time. It is such an interesting idea of how someone who doesn’t experience sexual arousal/stimulation in a “typical” way functions on an island where sex is so highly prioritized. It was a really neat idea that I was surprised to see the show tackle. While it isn’t addressed in a super deep or meaningful way, it is an unexpected and nice touch.

The “Governor.” Normally, I am all about avoiding spoilers, but I was surprised that we were supposed to think the governor is a dude. I know sometimes it can be hard to tell in anime, and I am guilty of more than once being like “What a super hot lady!” and it ended up being a fella and cue disappointment. But Akira was clearly a woman from the first time we see her. It wasn’t until the fourth episode that I learned she was supposed to be a “man.” She is so clearly a lady. If you can’t figure that out in ten seconds, you’re as simple as Mamori, bless your heart.

I feel it’s a missed opportunity for Akira not to be trans, but she’s not. She’s just pretending to be a fella for power, to stand out on an island full of women. It would have been a lot more interesting and compelling in my humble opinion. But whatever.

I could go on and on about all the many fantastic characters on this show, but there are a few other things I want to talk about.

1. I usually prefer the original Japanese voice actors, but this is one of the rare times when the opposite is true. The English voice acting is on point, very well acted, and an utter delight. Mirei in particular has a fantastic dead-pan delivery that I adore.

2. This show is hysterically funny. I laughed so hard so many times. Especially during the episode “Giant Girl, Little Heart.” I mean... just look at this:

The giant girl’s name is Nimi Minimi. I can’t even. Dear god. It’s so funny. I have a great appreciation for anything that can make me laugh. There are a lot of jokes about pitching and catching. And this is an actual quote from this episode: “Nimi, you’re the only one who can catch my fastball. Only you can catch my body and soul!” It’s classic.

3. The power and relationship dynamics are very interesting. Poly seems to be a pretty readily accepted practice. Platonic “driving” seems to be a thing. Consent is approached several different ways, and each is very interesting. Another thing this show does well is examine the problems inherent in such a system. It isn’t all girls kissing girls and touchy touchy fun times. There is a lot included on how that power can be abused and what corruption may look like in a hyper-sexualized state. So, maybe trigger warning? I’m pretty sensitive, but I did not find it trigger-y. It was actually nice to see such abuse of power highlighted as abuse without a veiled attempt to make it okay because it’s sexy times between two (or more) women.

4. Story/plot/etc - I’ll be real. The bar was really low when I initially started this. I mean, I didn’t expect much given the premise, but ended up being very pleasantly surprised. The story is reasonably compelling and more thought out than expected. There are more complexities than I anticipated, and it all wraps up neatly at the end of the series in a satisfying way. 

So, I guess that wraps up Valkyrie Drive: Mermaid. Conclusion: Watch it. It’s beautifully NSFW and unashamedly queer. There needs to be more anime like it. I think next I’ll write about Flip Flappers as it was recommended to me on my last post, and it currently holds the number three spot in my heart.

Today marks the fourth week of working from home, so please please please keep the recommendations coming. I have literally nothing to do but work and watch anime, and I’m super grateful for the recs I received already. Thanks. :-)

Valkyrie Drive: Mermaid, a review

(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 (MSRP): 50 USD Digital Copy (MSRP): 17.99 USD How much I paid: 50 USD. Animation Studio: ARMS Licensed and Localized by: Funimation Entertainment Audio: Japanese Audio with Subtitles and English Dub available.   English Cast: Kayla Hardwick as Mamori, Morgan Garrett as Mirei, Brittney Karbowski as Meifon, Janelle Lutz as Akira Hiragi, Monica Rial as Charlotte Scharsen, Roseanne Palmer as Kasumi Shigure, Tia Ballard as Rain Hasumi, Jamie Marchi as Lady J and Cynthia Cranz as Torino. Number of Episodes: 12 Episodes Length per Episode: 25 Minutes on average. 21 Without Intro and Ending song. Number of Discs: 4 Discs in Total. 2 DVD Discs and 2 Blu-ray discs. Episodes per Disc: Episodes 1-7 on the 1st DVD disc. Episodees 8-12 on the 2nd DVD disc. Episodes 1-9 on the first Blu-ray disc with Episodes 10-12 on the second Blu-ray disc along with the special features. Does this come a digital voucher to redeem?: No. This only has the Physical DVD and Blu-ray discs. Also on: Amazon Video, Funimation Now, Funimation’s streaming service that requires a subscription. Bonus Features: Textless Openings, Textless Ending and Trailers for other Funimation Licensed Shows. Episode 3 Commentary. Notable Localization Changes: Meifon, the smuggler character who wears a pink cowboy hat, is given a southern accent by her voice performer, Brittney Kowbalski.   My Personal Biases: I never really invested in the Valkyrie Drive franchise before and never played any of the games the anime is adapting. Sorry. My Verdict: Trashy, lurid, gaudy and with enough fanservice to make even the most perverted of us blush, Valkyrie Drive: Mermaid is sure to give its intending audience the happy ending they want. It’s too bad that in 12 short episodes, there’s just not enough there, emotionally or lore wise, to get invested in unless you’ve already have backhand knowledge of the games. Wait for a sale. A/N: Okay, since I don’t want the moderators to flag this post, I’m going to have to put an explicit warning here. So while I won’t post any nudity, I will have to Age restrict this post just so I don’t get any flak. Valkyrie Drive: Mermaid. a review 

Girls from all over the world have been infected with a mysterious virus known as the A Virus (Armed Virus). These girls are divided into two classes; Extars, who can transform into weapons when sexually aroused, and Liberators, who have the power to wield an Extar's weapon form, known as Liberator Arms, through a process known as Drive. These girls are brought to separate islands to spend their days completely isolated from the rest of the world until the islands' Observers, authorized by the government Organisation AAA, ostensibly deem them ready to rejoin society again. Valkyrie Drive: Mermaid follows an Extar named Mamori Tokonome who forms a partnership with the Liberator Mirei Shikishima on the island called Mermaid.(For our friends not fluent in Japanese, Tokonome shares a very similar writing as the word ‘Virgin’ in Japanese, which Togonome is.). Mamori and Mirei are caught between a conflict between the Wärter, the island’s government that lives the castle, Veste, and those fleeing it. With Governor Akira (a supposed male Liberator that’s actually female) trying to be fair, Charlotte getting delusions of grandeur and wanting to rule with an iron fist and Kasumi attempting to be fair to the girls, the Wärter is in constant conflict. Those attempting to flee join up with Ms. Torumi, a kind soul who offers shelter for girls looking for freedom. Meanwhile, a sneaky smuggler by the name of Meifon is trying to earn a profit from the war. Along the way, Mamori and Mirei meet other Liberators and Extars, such as the team Lady J and Lady Rain in which one transforms into a ridable motorcycle. Other liberators, such as Charlotte, have their own harem of Extars and arouse multiple ones to form a multi-part weapon. Let’s get this out of the way. Yes, it IS in fact Soul Eater but with Lesbians. And the show isn’t afraid of being explicit about it. We are talking full-on nudity with lots of exposed breasts flopping around, bouncing and lots and lots of shots of nipples erecting… and hardening… Christ, this makes fanservice driven series like Kannazuki no Miko or Strawberry Panic look like the chaste Maria-Sama ga Miteru. On the technical side, everything is very well done. The animation for both the action and fanservice scenes is well animated, the music flows scene to scene (even if I couldn’t really remember any pieces that stood out) and the voice acting for both the Original Japanese and English dub is well-done. So, if you’re looking for lots and lots of scenes of girls kissing each other, breasts flopping around with the viscosity of jello and scenes of action with naked girls, have I got a show for you. Story wise, I found the series rather lacking. Seasonal shows really need to be careful with their pacing. With a limited 12 episode run, VD:M is already bursting at the seams with an overly long 4 episode prologue establishing the characters, the setting, the divide between the girls going along with Charlotte and Akira’s lawful order, Kasumi’s wavering allegiance and Torumi’s group of rebels and Meifon’s smuggling between the 2 sides. There’s a sense of urgency that the peace can’t last and conflict is unavoidable. But, not so urgent that we couldn’t have two light-hearted episodes involving one girl becoming Kaiju sized and another episode with a beauty contest in a cultural festival.

Boy, this season of Attack on Titan got WEIRD. When the main big bad does rear her head near the final 4 episodes, the show does a good ‘enough’ job establishing the backstory between her and Mirei, but you get the sense that maybe, had the show paced itself better, it would mean more. Yes, the final battle with all the girls joining together at the end is impressive to look at, but emotionally, I just wasn’t feeling it. If the show were as committed to giving me emotional turning points as it was fan service, I would’ve been more impressed. The characters are also rather lacking (writing wise). While Mirei is certainly admirable and one of the most likable of the cast, Mamori doesn’t really change much (character wise). Granted, the show pays lipservice (no pun intended) to the idea that the more courageous Mamori is, the more powerful the weapon she becomes, but there’s never that moment where Mamori ‘saves’ Mirei or gives her the comfort Mirei needs like the way Himeko comforted Chikane at the end. They instead fuse to one super being. It feels like at one point Mamori was supposed to have the final turning point and be the one to rescue Mirei, but Mamori just ends up being captured and put into the damsel role again. I also liked Kasumi and her dubious allegiance with the rebels as well as Meifon, getting into all sorts of trouble for some cash. I’m told by fans of the franchise that in peripheral media, some of the other couples get more character development. For example, the team of Lady Rain and Lady J were actually on opposite sides of a war but intentionally got themselves captured just to be together or that Governor Akira actually has a female lover back on the mainland and longs to be with her. Again, I am not here to judge what’s in an appendix. What’s in the show is in the show and it’s clear the TV producers weren’t interested in those stories to begin with, so why should I?   Funimation Entertainment did the localization for the show. And for the most part, the dub script stays as close as it does to the original Japanese version. Granted, Funimation has always played it loose with dubbing scripts and this is no exception. The English script contains lots of innuendos and sex jokes to make the English viewers chuckle (i.e. “I caught and she pitched.” “Let’s go digging for treasure” “I’m gonna let it all hang out!”) Karbowski adopts a southern accent for Meifon so thick, I thought I was listening to Nico Robin from the 4Kids dub of One Piece. (I’m aware that localizers tend to translate those with Kansai dialect and give them a Southern accent and Karbowski seems to be doing this accent winking to the audience and having fun with it). Special credit should go to Janelle Lutz as Akira Hiragi, managing to perform dual roles as both masculine and feminine variations of the character. The rest of the cast does a good job voicing their perspective roles. Monica Rial does with she can with Charlotte and Cynthia Cranz as Torumi seems to especially fit the role of a motherly caretaker for lost girls. (Yes, I find the fact that one of the characters is voiced by the same performer as Chi-chi and Botan very disconcerting). THE ORIGINAL JAPANESE AUDIO WITH SUBTITLES IS AVAILABLE FOR THOSE WHO PREFER IT. The package includes the OVAs (Original Video Animation) which are short videos of each of the girls revealing motivation and backstory as well as a lot of nudity with nipples becoming more and more erect. Lots of them. What’s weird is that the OVAs are also dubbed with the cast members. Funimation didn’t even dub the OVA for Miss Kobayashi’s Dragon Maid. CAVEAT: It’s very strange that the series suddenly wants to take a more dramatic turn with emphasis on character development and history, but still plays out in a very fanservice driven anime. In some ways, I was enjoying the show more when it wasn’t really about anything and just amped the fanservice up to 11. With the exception of a few characters, I wasn’t invested in the goings on and 12 episodes is too short for me to have nostalgic feelings for Mermaid Island. For 50 USD, Valkyrie Drive: Mermaid is a bit on the steep end. While the animation, music, fight scenes and… PLOT are all well done, emotionally, it doesn’t have much to offer. Then again, I don’t expect emotional substance out of show where half the teenagers become sexually aroused and transform into weapons. Those looking for a happy ending (in both senses of the term) will enjoy this. Verdict: Wait for a sale or rental.