|The titular characters, Hatchin is on the left.|
|I hope no one choked when the glass shattered.|
|Michiko: According to this map, |
we are somewhere between Uraguay and Brazil
Hatchin: But there's no country between Uraguay and Brazil!
|Hatchin: Sure I'm scared, but I also know Michiko |
will probably be scarier than he is when she gets here.
|Atsuko, somewhat perturbed by being demoted, |
or perhaps because someone was silly
enough to draw a tiger in a South American rainforest!
Between this and Black Lagoon, you gotta wonder if
the Japanese aren't secretly afraid of South America.
I mean, in this universe, even the pickpockets have guns!
|Hey, it's a flying moped! Didn't know they could do that!|
The art-style has an unreal quality to it, almost dreamlike in some of the calmer moments and almost nightmarish in places. I think this is mostly due to the lighting choices as sometimes, especially around dusk, when the sunlight becomes slightly dimmer, it takes on a nearly sepiatic appearance, while at high noon, the sun's stark blaze reminds us that we are somewhere swelteringly hot. The characters are definitely much less cartoony than some, falling somewhere between the points on the scale of realism occupied by the original Ghost in the Shell and Cowboy Bebop. The music is unique for an anime, incorporating a lot of Latin inspiration, in fact, the writers for the final ending theme for the show "Nada Pode Me Parar Agora" by Aurea Martins and Alexandre Kassin happen to be Brazillian. But even the regular music for the show is very good, incorporating some nice insert songs as well. (It should be noted that Shinichiro Watanabe who directed Cowboy Bebop did the music production for this show.) The voice acting is also very well done, especially that of the two main characters who are voiced by career actresses Yoko Maki (of "The Grudge") and Suzuka Ohgo (of "Memoirs of a Geisha"), rather than regular seiyuu. Overall, I ended up liking this production. It's too bad the show isn't licensed for the the United States, but I guess given the nature of our country's censors it's not that hard to know why. For one thing, Michiko uses the nickname Jumbo when refering to Atsuko due to her dark skin at times which is Portuguese and translates to the racial slur Zambo in English. Of course the PC police would think this was bad enough, but add the discussions of selling children (though it's never said for what) and they would probably be up in arms. Further, the fact that this is set in South America might have made some companies think there wouldn't be as much of a market in the U.S. With these reasons, and the possibility of it being only of interest to a niche market I can understand why a licensing company wouldn't pick it up, but even so, it's a good story. It's a real shame that they haven't, and that's the tiger's two cents.
Images taken from Michiko to Hatchin.